{"id":36002,"date":"2020-09-17T08:00:41","date_gmt":"2020-09-17T06:00:41","guid":{"rendered":"http:\/\/www.luigi-bevilacqua.com\/?p=36002"},"modified":"2020-09-17T09:08:30","modified_gmt":"2020-09-17T07:08:30","slug":"fabric-dyeing-venice","status":"publish","type":"post","link":"https:\/\/www.luigi-bevilacqua.com\/en\/fabric-dyeing-venice\/","title":{"rendered":"The Ancient Art of Fabric Dyeing in Venice"},"content":{"rendered":"

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Since ancient times people have used dyes of various origins to color fabrics: vegetable, mineral, animal. Initially sourcing it in their surroundings but then giving rise to flourishing dyeing trade: the more precious dyes were those guaranteeing longer-lasting and quality colors. The art of dyeing has developed over the centuries in the East and West and also in Venice, a city with a long textile tradition, has known moments of great splendor. Let’s discover it together.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.4.4″][et_pb_column type=”4_4″ _builder_version=”4.4.4″][et_pb_text admin_label=”The Work of Textile Dyers in Venice” _builder_version=”4.6.1″]<\/p>\n

The Work of Textile Dyers in Venice<\/h2>\n

The Venetian productive society was rigidly organized into Arts and Crafts Guilds, governed by precise rules collected in the mariegole<\/em>, their statutes. The knowledge of natural dyestuffs and their use was also the prerogative of a Guild, the Arte dei Tintori<\/em>, which in the 16th century, when Venice was at the height of its greatness, was reorganized into Arte Maggiore<\/em> and Arte Minore<\/em> according to their specialization. The former gathered the dyers of precious silk, who were required to have particular experience and mastery in treating the delicate fiber, while the latter grouped the dyers of wool, cotton and linen.<\/p>\n

The highest quality dyeing materials were the monopoly of local production and only those that exceed domestic consumption or those of lesser value were exported. The dyeing procedures were followed and controlled in an almost maniacal way and this guaranteed that Venice had the best fabrics<\/a>: brocatelles<\/a>, damasks<\/a> and velvets<\/a>, especially appreciated in the famous scarlet red.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.4.4″][et_pb_column type=”1_3″ _builder_version=”4.4.4″][et_pb_image src=”http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2014\/09\/Lampasso-Melograno-244-33990S-rosso.jpg” alt=”Lampasso Melograno 244-33990S rosso | Tessiture Bevilacqua” title_text=”Lampasso Melograno 244-33990S rosso | Tessiture Bevilacqua” url=”https:\/\/www.luigi-bevilacqua.com\/en\/project\/melograno-lampas\/” align=”center” _builder_version=”4.6.1″ max_height=”400px” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_image][et_pb_text admin_label=”Melograno Lampas – Red” _builder_version=”4.6.1″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”400px” module_alignment=”center” link_option_url=”https:\/\/www.luigi-bevilacqua.com\/en\/project\/melograno-lampas\/” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n

Melograno Lampas <\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.4.4″][et_pb_image src=”http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2018\/02\/Broccatello-Sagredo-rosso-074-32334.jpg” alt=”Broccatello Sagredo rosso 074-32334 | Tessiture Bevilacqua” title_text=”Broccatello Sagredo rosso 074-32334 | Tessiture Bevilacqua” url=”https:\/\/www.luigi-bevilacqua.com\/en\/project\/sagredo\/” align=”center” _builder_version=”4.6.1″ max_height=”400px” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_image][et_pb_text admin_label=”Sagredo Brocatelle rosso” _builder_version=”4.6.1″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”400px” module_alignment=”center” link_option_url=”https:\/\/www.luigi-bevilacqua.com\/en\/project\/sagredo\/” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n

Sagredo Brocatelle <\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.4.4″][et_pb_image src=”http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2014\/11\/Velluto-bacchetta-Torcello-130-3940S-rosso.jpg” alt=”Velluto bacchetta Torcello 130-3940S rosso | Tessiture Bevilacqua” title_text=”Velluto bacchetta Torcello 130-3940S rosso | Tessiture Bevilacqua” url=”https:\/\/www.luigi-bevilacqua.com\/en\/project\/torcello-velvet\/” align=”center” _builder_version=”4.6.1″ max_height=”400px” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_image][et_pb_text admin_label=”Torcello Velvet – Red” _builder_version=”4.6.1″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”400px” module_alignment=”center” link_option_url=”https:\/\/www.luigi-bevilacqua.com\/en\/project\/torcello-velvet\/” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n

Torcello Velvet <\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.4.4″][et_pb_column type=”4_4″ _builder_version=”4.4.4″][et_pb_text admin_label=”The First Treatise of Dyeing Chemistry” _builder_version=”4.6.1″]<\/p>\n

Such was its fame that fabrics were also sent from all over Europe to be dyed in the lagoon city. The art was extremely flourishing: there were numerous workshops in the city and they used the water canals to rinse the dyed clothes, which were then hung out to dry in sunny areas, even on the altane<\/em>, the typical Venetian roof terraces.<\/p>\n

 <\/p>\n

The First Treatise of Dyeing Chemistry<\/h2>\n

In 1560 the first treatise on dyeing chemistry was published in Venice: “Plictho de l’arte de tentori”. It was written by Giovanventura Rosetti, who revealed the secrets of the profession, jealously guarded until then, concerning both the techniques and the recipes of dyestuffs. An important aspect concerns the most used raw materials, which were then combined with other substances:<\/p>\n

– for the red<\/strong>, they used the chermes<\/strong>, from which crimson, obtained from a cochineal or “small worm” (from which vermilion) or the dried root of the madder<\/strong> plant;<\/p>\n

– for yellow<\/strong>, Spanish broom<\/strong>, saffron<\/strong> or turmeric<\/strong> were used;<\/p>\n

– for the shades of blue<\/strong>, the plant of woad<\/strong>;<\/p>\n

– for black<\/strong>, the bark<\/strong> of various trees.<\/p>\n

Its success was such that it remained the reference text of dyers for centuries, a profession to which honors and respect were attributed so much that even the famous Venetian painter Jacopo Robusti used a pseudonym linked to this art, namely Tintoretto, because his father was a dyer of silk fabrics.<\/p>\n

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Cover photo credit: Il Tabarro<\/pre>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"
How did the prestigious Guild of Dyers of Venice manage to create the most appreciated dyes for fabrics in the world? Let’s discover it here<\/p>\n","protected":false},"author":10,"featured_media":35899,"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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Fin dall\u2019antichit\u00e0 i popoli hanno utilizzato tinture di varia origine per colorare i tessuti: vegetale, minerale, animale. Inizialmente procurandola nel proprio ambiente ma poi dando vita a fiorenti commerci di coloranti, tanto pi\u00f9 preziosi quanto pi\u00f9 duraturo e di qualit\u00e0 era il colore che garantivano. L\u2019arte della tintoria si \u00e8 sviluppata nei secoli in oriente e in occidente e anche a Venezia, citt\u00e0 di lunga tradizione tessile, ha conosciuto momenti di grande splendore. Scopriamola insieme.<\/p>
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\"4.4.4\"][et_pb_column type=\"4_4\" _builder_version=\"4.4.4\"][et_pb_text admin_label=\"Il lavoro dei tintori di tessuti a Venezia\" _builder_version=\"4.5.7\"]<\/p>
Il lavoro dei tintori di tessuti a Venezia<\/h2>
La societ\u00e0 produttiva veneziana era rigidamente organizzata in Corporazioni di Arti e Mestieri, governate da norme precise raccolte nelle mariegole<\/em>, ossia i loro statuti. Anche la conoscenza dei coloranti naturali e il loro impiego erano prerogativa di una Corporazione, l\u2019Arte dei Tintori, che nel XVI secolo, quando Venezia \u00e8 all\u2019apice della sua grandezza, viene riorganizzata in Arte Maggiore e Arte Minore in base alla specializzazione. La prima raccoglie i tintori della preziosa seta, ai quali \u00e8 richiesta particolare esperienza e maestria nel trattare la delicata fibra, mentre la seconda raggruppa i tintori di lana, cotone e lino.<\/p>
Le materie tintorie di pi\u00f9 alta qualit\u00e0 sono monopolio della produzione locale e solo quelle che eccedono il consumo interno o quelle di minore pregio vengono esportate. Le procedure per la tintura sono seguite e controllate in modo quasi maniacale e questo garantisce a Venezia di avere i migliori tessuti<\/a>: broccatelli<\/a>, damaschi<\/a> e velluti<\/a>, apprezzati soprattutto nel famoso rosso scarlatto.<\/p>
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Lampasso Melograno rosso<\/p>
[\/et_pb_text][\/et_pb_column][et_pb_column type=\"1_3\" _builder_version=\"4.4.4\"][et_pb_image src=\"http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2018\/02\/Broccatello-Sagredo-rosso-074-32334.jpg\" alt=\"Broccatello Sagredo rosso 074-32334 | Tessiture Bevilacqua\" title_text=\"Broccatello Sagredo rosso 074-32334 | Tessiture Bevilacqua\" url=\"http:\/\/www.luigi-bevilacqua.com\/project\/sagredo\/\" align=\"center\" _builder_version=\"4.5.7\" max_height=\"400px\"][\/et_pb_image][et_pb_text admin_label=\"Broccatello Sagredo rosso\" _builder_version=\"4.5.7\" text_font=\"||on||\" text_font_size=\"12\" background_color=\"rgba(218,221,221,0.52)\" text_orientation=\"center\" max_width=\"400px\" module_alignment=\"center\" link_option_url=\"http:\/\/www.luigi-bevilacqua.com\/project\/sagredo\/\"]Broccatello Sagredo rosso[\/et_pb_text][\/et_pb_column][et_pb_column type=\"1_3\" _builder_version=\"4.4.4\"][et_pb_image src=\"http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2014\/11\/Velluto-bacchetta-Torcello-130-3940S-rosso.jpg\" alt=\"Velluto bacchetta Torcello 130-3940S rosso | Tessiture Bevilacqua\" title_text=\"Velluto bacchetta Torcello 130-3940S rosso | Tessiture Bevilacqua\" url=\"http:\/\/www.luigi-bevilacqua.com\/project\/velluto-torcello\/\" align=\"center\" _builder_version=\"4.5.7\" max_height=\"400px\"][\/et_pb_image][et_pb_text admin_label=\"Velluto Torcello rosso\" _builder_version=\"4.5.7\" text_font=\"||on||\" text_font_size=\"12\" background_color=\"rgba(218,221,221,0.52)\" text_orientation=\"center\" max_width=\"400px\" module_alignment=\"center\" link_option_url=\"http:\/\/www.luigi-bevilacqua.com\/project\/velluto-torcello\/\"]<\/p>
Velluto Torcello rosso<\/p>
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\"4.4.4\"][et_pb_column type=\"4_4\" _builder_version=\"4.4.4\"][et_pb_text admin_label=\"Il primo trattato di chimica tintoria\" _builder_version=\"4.5.7\"]<\/p>
Tale \u00e8 la sua fama che anche da tutta Europa vengono inviati tessuti a tingere nella citta lagunare. L\u2019arte \u00e8 estremamente fiorente: in citt\u00e0 vi sono numerose botteghe che sfruttano i canali d\u2019acqua per sciacquare i panni tinti, che vengono poi stesi ad asciugare nelle zone assolate, anche sulle altane<\/em>, le tipiche terrazze sui tetti veneziani.<\/p>
\u00a0<\/p>
Il primo trattato di chimica tintoria<\/h2>
Nel 1560 viene pubblicato a Venezia quello che sar\u00e0 considerato il primo trattato di chimica tintoria: \u201cPlictho de l\u2019arte de tentori\u201d. Ne \u00e8 autore Giovanventura Rosetti, che nella sua opera svela i segreti del mestiere fino ad allora gelosamente custoditi, riguardanti sia le tecniche che le ricette dei coloranti. Un aspetto importante riguarda le materie prime pi\u00f9 utilizzate, che venivano poi combinate con altre sostanze:<\/p>
  • per il rosso si usavano il chermes<\/strong>, da cui cremisi<\/em>, ricavato da una cocciniglia o \"piccolo verme\" (da cui vermiglio) oppure la radice essiccata della pianta di robbia<\/strong>;<\/li>
  • per il giallo si utilizzavano ginestra<\/strong>, zafferano<\/strong> o curcuma<\/strong>;<\/li>
  • per le gradazioni di azzurro, si utilizzava la pianta del guado<\/strong>;<\/li>
  • per il nero, la corteccia<\/strong> di vari alberi.<\/li><\/ul>
    Il suo successo fu tale che rimase il testo di riferimento dei tintori per secoli, una professione a cui venivano attribuiti onori e rispetto tanto che anche il famoso pittore veneziano Jacopo Robusti si serv\u00ec di uno pseudonimo legato a questa arte, ossia Tintoretto<\/em>, proprio perch\u00e9 il padre era un tintore di tessuti di seta.<\/p>
    [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\"4.4.4\"][et_pb_column type=\"4_4\" _builder_version=\"4.4.4\"][et_pb_text admin_label=\"Cover photo credit: Il Tabarro\" _builder_version=\"4.5.7\"]<\/p>
    Cover photo credit: Il Tabarro<\/pre>
    [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","_et_gb_content_width":"","footnotes":""},"categories":[7],"tags":[],"class_list":["post-36002","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-history"],"yoast_head":"\nThe Ancient Art of Fabric Dyeing in Venice<\/title>\n<meta name=\"description\" content=\"How did the prestigious Guild of Dyers of Venice manage to create the most appreciated dyes for fabrics in the world? 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