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Giulio Romano 1499-1546, Battle of the Milvian Bridge, 1520-24.
This pocket square features The Battle of the Milvian Bridge, or The Battle at Pons Milvius, a fresco in one of the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. The Battle of the Milvian Bridge shows the battle that took place on 28th October 312 between the Roman Emperors Constantine I and Maxentius. The legend goes that Constantine had a dream of a cross appearing in the heavens; a voice then told him he would win the battle of Ponte Milvio if he used the cross as his standard. The cross became his standard and he won the battle, and thus attributed his victory to the god of Christianity.
A soft colour palette with a variety of different colour combinatons make this a versatile pocket square that provides a number of options when folded into the pocket.
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Giulio Romano (c. 1499 – 1546) was an Italian painter and architect. A pupil of Raphael, his stylistic deviations from high Renaissance classicism help define the 16th-century style known as Mannerism. Giulio's drawings have long been treasured by collectors and contemporary prints made a significant contribution to the spread of 16th-century Italian style throughout Europe.
Giulio Romano was born in Rome and the "Romano" refers to this. As a young assistant in Raphael's studio, he worked on the frescos in the Vatican loggias to designs by Raphael and in Raphael's Stanze in the Vatican painted a group of figures in the Fire in the Borgo fresco. Increasingly he became Raphael's right-hand man, despite his relative youth. After the death of Raphael in 1520, he helped complete the Vatican frescoes of the life of Constantine as well as Raphael's Coronation of the Virgin and the Transfiguration in the Vatican. In Rome, Giulio decorated the Villa Madama for Cardinal Giuliano de' Medici, afterwards Clement VII. Though beautiful, the crowded Giulio Romano frescoes are considered to lack the stately and serene simplicity of his master.
Macclesfield was once the centre of the English silk weaving industry and the world's biggest producer of finished silk. The area has been printing silk for over 300 years and at one point had over seventy mills operating in the town. The town is close to a water supply that passes through limestone, and when used in washing and dyeing it gives silk a uniquely attractive lustre.
Our pocket squares are printed at a mill that has been producing printed fabric on the same site for the past fifty years and the process uses water sourced from its own reservoir.
The art of hand rolling pocket squares is a unique craft and truly makes each piece individual and unique. We feel that the precision and care taken by our skilled artisans gives each scarf its own unique character, finish and feel. To create the finest rolled hems, the edge of the silk or cotton pocket square must be softy turned over with a handheld needle and then small stitches are inserted approximately one half to one centimetre apart around the edge, creating a supple yet prominent border.
It’s absolutely the best way to finish a pocket square for a variety of reasons but the key ones are for both visual effect and structure. Rolling by hand is the only way to get a really nice clean plump finish on the edge and this gives a really nice depth to the edges. It’s a more expensive process than machine rolling but by using a machine you’re often left with a flat edge and you don’t get the same luxurious feel. On top of this, the rolled edges add a lot more structure to your pocket square.
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The Death of Major Peirson, 6th January 1781, John Singleton Copley, 1783, © Tate, London 2014 On this pocket square we’ve used a large oil painting by American artist John Singleton Copley that depicts the death of...