Details in Red
Portrait of Isabelle Antoinette Barones Sloet van Toutenburg, 1852, by Nicaise de Keyser.
Patricipance of Venice, 1881, by Alexandre Cabanel.
A Young Lady Aged 21, Possibly Helena Snakenborg, 1569, by an unknown artist.
Portrait de la comédienne Marie-Anne de Châteauneuf, 1712, by Nicolas de Largillière.
Mrs. Hugh Hammersley, c. 1893, by John Singer Sargent .
Louise, Queen of the Belgians, 1841, by Franz Xaver Winterhalter.
Sabina Seupham Spalding, c. 1846, by Federico de Madrazo y Kuntz.
Elizabeth I, the "Pelican" portrait, c. 1572, by Nicholas Hilliard.
Portrait of Mary Louise of Orleans, Queen of Spain, c. 1679, by José García Hidalgo.
Portrait of Marguerite de Sève, 1729, by Nicolas de Largillière.
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If you're into embroidery, you MUST take a look at these great examples, all from the Victoria & Albert Museum, of punto fiamma or flame stitch. This kind of embroidery is made with flat stitches laid in a mathematical pattern to create motifs, being the most popular/known one, the zig-zag motif.
It is also known as Florentine or Bargello stitch because of a series of chairs in the Bargello palace in Florence, but funny enough, in Italy it is known as punto unghero (Hungarian point). Here, the famous chairs:
In English, the main motifs of this embroidery are called:
Flame Stitch - the zig-zag
Hungarian Point - diamond
Bargello - curved motifs
This embroidery was very popular during the 17th and 18th centuries, for furniture, cushions, accessories and shoes, like we can see on the examples at the top.
Traditionally it is stitched in wool on linen canvas, but nowadays we can perfectly use cotton threads. The motifs are colourful, or might use different shades of the same colour creating shading effects.
Now, would you like to try it? Or, would you like see someone making an 18th century embroidered pocket? I'm sure you do:
Images from top:
Pair of shoes, 1730s-1740s, Great Britain, Victoria & Albert Museum.
Pin Cushion, Martha Edlin, 1670-1680, England, Victoria & Albert Museum.
Chair Seat, 1700-1750, England, Victoria & Albert Museum.
Pair of Shoes, 1730s-1740s. Great Britain, Victoria & Albert Museum.
Chairs at the Bargello Museum, Jeff Beck, via American Quilter blog.
Making an 18th Century Bargello Pocket, 2021, Margaret ONeil, via YouTube.
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So I’m reading a letter where Alexander is describing Philip as a baby, and it’s so fucking funny
He refers to him as a “little stranger” and writes how he was not “sufficiently aquatinted” with his son before like. Ofc you weren’t HES A BABY
“The most agreeable in his conversation and manners” He is 7 months old how the fuck do you know that at 7 months. Like I may not know much about babies but I don’t think they make full conversations and have amazing manners at that age. Maybe it’s just me idk.
“He has a method of waving his hand… that announces the future orator.” Ofc he waves his hand around he’s a baby all babies do that???
“He stands rather awkwardly and his legs not at all the delicate slimness of his fathers.” I once again remind you that he is SEVEN MONTHS OLD at the time when he is writing this letter. Just because he can’t walk then and doesn’t have slim legs doesn’t mean he won’t be a good dancer like?? He’s not even a year old yet OF COURSE HE WONT WALK WELL AND WILL BE A LITTLE CHUBBY
“He laughs too much.” HES A BABY DUDE HES GONNA LAUGH. Seriously is this his first ever interaction with a baby?? This letter makes it seem So. I really want to know if this was a normal way of describing your child/ first born back then or if Alexander just didn’t know a damn thing about babies and how they develop. Okay but in all Honesty the way he describes him is rather sweet though and you can tell how much he cares about him.
+ My friends responses
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