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This wide-ranging book elucidates the symbolism of veils and highlights the power of drapery in Italian art from Giotto to Titian. In the cities of the Renaissance, display of luxury dress was a marker of status. Florentines decked out their palaces and streets with textiles for public rituals. But cloths are also the stuff of fantasy: throughout the book, the author moves from the material to the metaphorical. Curtains and veils, swaddling and shrouds, evoke associations with birth and death. The central chapters address the sculpture of Ghiberti and Donatello, focusing on how they deployed drapery to dramatic effect. In the final chapters the focus shifts to the paintings of Bellini, Lotto, and Titian, where drapery both clothes the figures and composes the picture. In the work of Titian, the veiled presence of the body is absorbed within the materials of oil-paint on canvas: medium and subject become one.

In this fascinating and accessible book, Gen Doy investigates the hitherto neglected meanings of drapery and the draped body in visual culture. The baroque and the classical are her subjects, as are Freud's Gradiva, Clerambault's writings and photographs of draped figures, the fetishistic play between veiling and revealing and the meanings of drapery in recent art, from Christo's wrapped Reichstag to the impact of the modern women's art movement on fine art practice. Yet she also finds and focuses on the draped body now in countries like Algeria and Kosovo where drapery's connotations are no longer those of purity and civilized elegance but of barbarism, poverty and savage death.

Cloaked in descriptive text, Johann Joachim Winckelmann's interest and knowledge in clothing have been overlooked in the fields of art history, historiography, and reception studies. This article seeks to unveil this lacuna. In exploring the extent to which clothing was integral to the development of Winckelmann's persona, intellectual approach, and affective sensibility, this article applies approaches more commonly employed in the field of fashion theory to Winckelmann's connoisseurial works on taste: Thoughts on the Imitation of Greek works in Painting and Sculpture (Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst, 1755), and the History of the Art of Antiquity (Geschichte der Kunst des Altertums, 1764).1A brief exploration of Winckelmann's self-fashioning and engagement with contemporary fashion will form the opening section of the paper. It will suggest that clothing played a social role in the careful construction and self-promotion of Winckelmann's identity and thus his transformation from cobbler's son to one of the most influential men in Europe. Then it engages with the descriptive, object-based analysis of clothing found in the History of the Art of Antiquity. It will examine how the formal characteristics of antique clothing, and their accessories and ornaments were important indicators in identifying the origins of antique sculpture, and illustrative of the different historical styles and his teleological purpose to prove that Greek art was the best. Finally, it will engage with the emotional and aesthetic qualities he attributed to drapery. It will propose that for Winckelmann the throw and effect of antique drapery, when executed with elegance, could express extreme emotion, spur imagination, and manifest grace, one of the qualities that made up his concept of the Greek ideal. In the context of his desire to instruct contemporaries on the discernment of taste, drapery executed in the style of the Greeks proposed a counterbalance to the exaggerated drapery typical of Baroque Rome, and exemplified by the work of Gian Lorenzo Bernini. As Winckelmann sought to redress the balance between Baroque and Greek art, this paper aims to re-dress Winckelmann, integrating clothing into his historical, teleological, and aesthetic process, and including draped as well as nude statues as his emblem of the Greek ideal.

The half-length Penitent Magdalen was probably the most commercially successful and most repeated subject painted by Titian and his studio. In treating it Titian was no doubt stimulated by the comparably extensive production of Penitent Magdalens by the Milanese painter Giampietrino, but it was Titian's visualisation of the subject that became canonical. Titian produced the Penitent Magdalen in two closely related types, in both of which her pose is based on the antique model of the Venus Pudica. In Type I, a nocturne, she is set in an unforgiving grotto and is entirely nude but covered with her abundant hair. Titian seems to have invented this formula around 1530 and to have continued to paint versions of it for about a decade. In Type II, probably invented 1550 and repeated with variations into the 1570s, the Magdalen is placed in more hospitable country and draped: in all but one instance she wears a prayer-shawl. This type is diurnal and Titian sometimes indicates different times of day. Both types exist in different sizes but all known autograph or studio examples of Type II are larger than all known examples of Type I. Between the abandonment of Type I and the development of Type II, Titian experimented with at least two variant arrangements, although the evidence for these is limited. This article was prompted by the appearance of two hitherto unknown versions of Type II and aided by the opportunity of examining little-studied versions of both types. It makes use of previously unpublished X-rays of some of the surviving examples and includes discussion of painted and engraved copies of paintings now unlocated or destroyed. It endeavours to arrange Titian's and his studio's versions of the Penitent Magdalen in a plausible chronological sequence and, as far as possible, to connect surviving or recorded paintings with references in written sources.

This study examines the origins and understanding of the concept of 'broken colours' in the seventeenth century. The phrase relates to mixtures of colours, often to those resulting in a reduced chromatic value, but included more kinds of colour mixtures when used by early modern writers. It appeared in the art literature of England, the Low Countries, Germany and France in short sequence, and seems to have been directly associated with an ancient expression for colour mixtures, 'corrupted colours'. The interpretation of ancient mentions of 'corrupted colours' by the scholar Franciscus Junius, published in Latin, English and Dutch, are investigated together with discussions of 'broken colours' by Edward Norgate in England, Samuel van Hoogstraten in Holland, Joachim von Sandrart in Germany and Charles Alphonse Dufresnoy, Roger de Piles and the members of the Académie Royale in France.

A group of marble statues, all bearing the dedication of Klaudios Peisōn, were found together in 1981 in the South Baths of Perge. They appear datable to the principate of Antoninus Pius, when the baths were enlarged. To date, however, these statues have not been examined as a group, and little attention has been paid to the role of their donor. The name Klaudios Peisōn indicates membership in a prominent family of Sagalassos; his generosity to another city suggests that this man owned property near or conducted business in Perge. His euergetism here is more modest than that of Perge’s own great families, but it shows Peisōn’s desire to win favor with the people and local officials. Technical evidence indicates that at least six of the statues were not new when Peisōn donated them; some of them had been recut to receive his dedicatory inscription. They were, however, carefully chosen by someone, both for their connections with local cult and for their aesthetic appeal. Peisōn’s euergetism consisted in preserving and reinstalling a group of statues from some other venue.

The purpose of this article is to estimate the workforce involved in spinning from the late sixteenth century until the eve of mechanization. In addition, the potential contribution to family earnings from spinning will be examined. Just about all of the millions of yards of woollen yarn that went into making English cloth had to be spun by women and children, but this activity has not been investigated to the extent that it deserves. Spinning was a skilled occupation where there was a great demand for the best quality product. Sources exist which make it possible to make general estimates of the amount of spinning needed in the economy, and its cost. This evidence shows that employment in spinning increased dramatically from the late seventeenth century, and continued to increase until there were probably over one million women and children employed in spinning by the mid-eighteenth century. In addition earnings increased to the extent whereby earnings from spinning could contribute over 30 per cent of household income for poorer families. This has implications for looking at trends in real wages over time, as well as for the concept of the industrious revolution.

In 1640, the marble statue \"St Veronica\" by Francesco Mochi was unveiled to Pope Urban VIII, who commissioned it. This was the fourth and last saint sculpture at St Petes Basilica. The commissioning and designing of the statue is examined. The pope was involved in its development and unveiling.

All interpretations of the celebrated Motya Youth, dating to about 480-450 BCE, have neglected the full significance of the five holes on the statue's head, which were there since its discovery in 1979. A reinterpretation of the figure taking these holes into consideration points to its identity as an initiate of Apollo Karneios, shown at rest after having performed the dance in honor of the god. Art, history, and iconography combine to suggest that the figure may have been none other than Gelon, the tyrant of Syracuse, as a young man.