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Fifteenth Century Italian Ornament, Sydney Vacher, 1854 - 1935
This collection is inspired by the work of Sydney Vacher, an English architect of the late 19th century that created a book of patterns called ‘Fifteenth Century Italian Ornament’. The patterns within were inspired by the ‘brocades and stuffs found in pictures in the National Gallery, London’. Chiefly he chose patterns and details found within 15th-century Italian art and recreated these as repeat patterns for use with textiles, fabrics and print design. This particular repeat pattern is inspired by a detail on the back of the throne in The Coronation of the Virgin: Central Main Tier Panel, painted in 1370/1 by Jacopo di Cione.
Here at Rampley & Co, we’ve taken the originals from within the book and increased the vibrancy and variety of the colours used to create the perfect blends for beautiful pocket squares that truly tell a story.
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Jacopo di Cione, 1325 to 1390-1400 (no known portrait). Many of Jacopo's works, including frescoes at Volterra and the altarpiece of the 'Coronation of the Virgin' in the Collection, were undertaken in collaboration with the Florentine painter Niccolò di Pietro Gerini, who probably designed the complex overall structure of the Coronation altarpiece. Jacopo di Cione was registered with the Florentine Physicians' Guild, to which painters belonged, in 1369 and apparently took over the running of the family workshop after Andrea's death.
Although the 'Coronation of the Virgin' shows evidence of workshop participation, sections of it demonstrate that Jacopo was inventive both as a story-teller and in his use of novel pigment mixtures and colour relationships.
The painting was commissioned for the church of San Pier Maggiore in Florence, probably by the Albizzi family. The accounts of 1370 show that a certain Niccolò, probably Niccolò di Pietro Gerini, designed the altarpiece. It was painted by Jacopo di Cione and assistants and completed in 1371. In the centre of the composition of the central panel are Christ and the Virgin, dressed in white and gold, and seated upon a canopied throne surrounded by angels.
The National Gallery in central London was founded in 1824 and houses over 2,300 paintings dating from the mid-13th century to 1900. Situated in Trafalgar Square, it is an iconic building that is famous the world over. Its collection belongs to the government on behalf of the British public and is among the most visited art museums in the world.
The National Gallery Collection contains over 2,300 works, with all major traditions of Western European painting represented from the artists of late medieval and Renaissance Italy to the French Impressionists.
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 pocket square its own unique character, finish and feel. To create the finest rolled hems, the edge of the silk, wool/silk blend 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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