[et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.17.4″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”intro+par1″ _builder_version=”4.17.6″ global_colors_info=”{}”]<\/p>\n
There is a fruit that became one of the most beloved decorative motifs for fabrics in the Middle Ages and Renaissance: it\u2019s the pomegranate, which you can find on silk fabrics such as lampases and velvets, either as stylized or realistic figures. Let’s find out why it was so popular and became the subject of one of our lampases.<\/p>\n
The pomegranate pattern appeared towards the end of the Middle Ages, in the 14th century, when merchants began importing textiles with this design from the Ottoman Empire, most of all into Venice. Its success continued and grew, becoming a favorite subject of Renaissance motifs for textiles<\/a>.<\/p>\n However, the pomegranate fruit was already known in Europe. The Greeks and Romans had imported it from the Middle East, and it was one of the most inviting and exclusive delicacies in medieval cuisine.<\/p>\n But its popularity is mainly due to the fact that it is mentioned in the sacred texts of several religions for the symbolic meanings it holds:<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2018\/03\/Botticelli-Madonna-della-Melagrana.png” show_in_lightbox=”on” align=”center” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.17.4″ max_width=”350px” module_alignment=”center” always_center_on_mobile=”on” global_colors_info=”{}”][\/et_pb_image][et_pb_text admin_label=”dida” _builder_version=”4.17.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”350px” module_alignment=”center” border_style=”solid” saved_tabs=”all” global_colors_info=”{}”]<\/p>\n Madonna of the Pomegranate (1487) by Botticelli<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2022\/07\/Botticelli-Madonna-della-Melagrana-dettaglio.png” title_text=”Botticelli-Madonna-della-Melagrana-dettaglio” show_in_lightbox=”on” align=”center” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.17.4″ max_width=”350px” module_alignment=”center” always_center_on_mobile=”on” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”par1+2″ _builder_version=”4.17.6″ global_colors_info=”{}”]<\/p>\n The pomegranate pattern is meaningful and perfect for those who wanted to express their wealth and their power with the clothes they wore.<\/p>\n There are many paintings that testify to the use of pomegranate-patterned dresses for noble ladies. Examples are the portrait of a young woman painted by Antonio del Pollaiolo<\/em> around 1465 and that of Eleanor of Toledo<\/em> by Agnolo Bronzino<\/em> (1544).<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2018\/03\/Antonio-del-Pollaiolo-Ritratto-di-giovane-donna.jpg” show_in_lightbox=”on” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.17.4″ max_width=”300px” module_alignment=”center” always_center_on_mobile=”on” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.17.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”300px” module_alignment=”center” border_style=”solid” saved_tabs=”all” global_colors_info=”{}”]<\/p>\n Antonio del Pollaiolo:\u00a0Profile <\/em>Portrait of a Young Lady<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”http:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2017\/02\/Bronzino-Eleonora-di-Toledo-con-il-figlio-Giovanni.jpg” show_in_lightbox=”on” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.17.4″ max_width=”300px” module_alignment=”center” always_center_on_mobile=”on” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.17.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”300px” module_alignment=”center” border_style=”solid” saved_tabs=”all” global_colors_info=”{}”]<\/p>\n Agnolo Bronzino: Eleanor of Toledo and Her Son [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”par3″ _builder_version=”4.17.6″ global_colors_info=”{}”]<\/p>\n Pomegranate motifs were very complex to make, and therefore expensive. The most realistic ones required highly skilled artisan weavers and a lot of time to make them. In addition, these fabrics were often woven using gold threads<\/a>, which made them even more precious and, at the same time, perfect for communicating the wearer’s status.<\/p>\n\n
A Pattern for Luxury Fabrics and Noble Clothing<\/h2>\n
<\/em><\/p>\nMelograno Lampas<\/h2>\n