Читать книгу The Book of the Pearl. The history, art, science, and industry of the queen of gems онлайн

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Probably in no place were these laws more stringent than in the art-loving republic of Venice from the fourteenth to the sixteenth century. This seems remarkable in view of the fact that this city was largely dependent for its wealth and prominence on commerce with the East, of which pearls constituted a prominent item.

The earliest Venetian restriction that we have found regarding pearls was made in 1299; when, in a decree determining the maximum number of guests at a marriage ceremony and the extent of the bridal trousseau, the grand council of the republic provided that no one but the bride should wear pearl decorations, and she should be permitted only one girdle of them on her wedding dress. This enactment was modified in 1306, but numerous other restrictions were substituted, notably in 1334, 1340, 1360, 1497, and 1562. These differed in many particulars: some forbade ornaments or trimmings of pearls, gold, or silver on the dresses of any women except a member of the Doge’s family; and other enactments required that, after a definite period of married life, no woman should be permitted to wear pearls of any kind. But an examination of the documents and of the paintings of that period shows that these decrees had little effect, and the luxury of the “Queen of the Adriatic” in the use of pearls at the most brilliant epoch in her history is aptly reproduced in the portraits by Giovanni Bellini, Lorenzo Lotto, the great Titian, Tintoretto, Paul Veronese, and other artists of the highest rank. In the engraving by Hendrik Goltzius of a marriage at Venice in 1584, not one of the many women present seems to be without her necklace and earrings of pearls, and some of them have several necklaces.^[34] And the same appears true of the principal female figures in Jost Amman’s noted engraving, “The Espousal of the Sea,” executed in 1565.^[35]