#17th and 18th

[mey-rin-is-fabulous]

HAPPY 10TH TO THE HOBBIT: DESOLATION OF SMAUG. December 12 to 13.

[cy-lindric]

All the "inktobers" for this week (taking a break for the weekend) !

I. Hérault / Herald  · II. Piqueur / Kennelkeeper  · III. Échanson / Cupbearer  · IV. Naturaliste / Naturalist  · V. Comédien / Comedian  · VI. Chirurgien / Surgeon

[dogzcats]

pomegranates in still life (details)

[53v3nfrn5]

‘Jade Bowl’ + ‘The Shah Jahan Cup’ + ‘Leaf-Shaped Cup’ (17th/18th century)

[memories-of-ancients]

Hoard of gold coins discovered by a UK couple under their kitchen floorboards during renovations. The oldest coin dates to 1610, the newest 1727.

[fjordfolk]

Utilization: By his anatomical peculiarities this dog is predestinated to puffin-hunting on the steep rocks around the fjords and along the shore.

The standard:

Neck: Clean-cut, of medium length, quite strong with a relatively well furnished collar.

Compendium comment:

The head is carried relatively low. The two last vertebrae (atlas/apsis) are shaped so that the dog can bend backwards so that the head touches the back. To do so is vital when turning in the narrow burrows. NB! This should NEVER be demonstrated the ring!

The standard:

Ears: Triangular ears of medium size, broad at the base, carried erect and very mobile. The cartilage of the ear lobe has the faculty of being able to retract itself so that the ear folds itself and flops in a specific manner, either backwards or in right angle upwards, so as to close the auditory passage.

Compendium addition:

The ears of the Lundehund have a unique muscle that enables them to fold and close the ears when entering the burrows, thus protecting them against dirt and moisture. The turning and folding of the ears probably also is help in locating the birds.

The standard:

Forelimbs: Moderately angulated. Forearm: Straight.

Forefeet: Oval shaped, turning slightly outwards, with at least six toes of which five must rest on the ground. Eight pads on each foot. The two inner toes, formed respectively by 3 and 2 phalanges and endowed with a ligamentary and muscular system, make the foot look solid.

Compendium addition:

Very flexible and elastic shoulder muscles. The Lundehund has joints that allow the forelimbs to extend at nearly 90 degrees from the body, but this must NEVER be demonstrated in the ring! The forefeet turn slightly outwards to give room for the extra toes.

The Norwegian Lundehund is a polydactyl. Instead of the normal 4 digits, the Lundehund normally has 6 digits, all fully formed, jointed and muscled, with tendons going up the inside of the leg, partly responsible for its wide front gait. Some specimen may have more, others less than 6 digits per foot, but less than 6 on front feet should lead to downgrading. The extra toes help the dog climbing up and down crevices in screes and cliffs.

The standard:

Hindfeet : Oval shaped, turned slightly outwards, with at least six toes - four of which must rest on the ground. Seven pads on each foot, the one in the middle, the most important one by its size, being attached to the inner pads corresponding to the two inner toes. When the dog is standing up on a flat surface, the weight of the body must be evenly distributed on the pads.

Compendium comment:

More than 6 digits is not a fault. 5 digits are acceptable on the hind feet. The extra toes on the hind feet are normally less developed than those on the forelegs and variations from the ideal, both regarding number and placement, should not be penalized.

The standard:

Gait/Movement: Light and elastic. An external rotary action of the forelegs and somewhat close action behind is characteristic of the breed.

Compendium comment:

In judging the movements of the Lundehund, one must consider that this dog is built to climb efficiently up and down steep cliffs and screes. The extra pads on both fore- and hind paws must then touch the surface to aid the dog in climbing. The extra toes help getting a grip, both in ascent and descent. The wide front with extra flexibility enables climbing safely up and down crevices, as the forelegs can grip at a 90 degrees angle to the body. On flat surfaces, the Lundehund will show typical rotating front movements, due to tendons and muscles from the extra digits on the inside of the legs. Hind movements are narrow.

[vinceaddams]

Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

[7pleiades7]

Doña Josepha Benavides, Marquise of Villena, (c. 1692-1725), (detail), by Alonso Miguel de Tovar (1678-1752)

[thatshowthingstarted]

"The Release from Deception,"

Carved from a single block of marble, it depicts a fisherman being released from netting by an angel, allegorical to the man being liberated from his sins.

So intricate was the work that 18th-century philosopher Giangiuseppe Origlia described it as “the last and most trying test to which sculpture in marble can aspire.”

Queirolo worked alone on his magnum opus, without an assistant or even a workshop. Even other sculptors refused to touch the delicate net in case it broke into pieces in their hands.

The masterpiece is housed at the Sansevero Chapel in Naples, with several other miracles of marble. Namely, "The Veiled Christ" (1753) by Giuseppe Sanmartino and "The Veiled Truth" (1750) by Antonio Corradini.

Francesco Queirolo (1752-1759)

Credit: @Culture_Crit

[ltwilliammowett]

The Crescent Moon (detail), by Montague Dawson (1895-1973)

[frostedmagnolias]

Salamander Brooch

late 16th century-early 17th century

Museum of London

[winterhalters]

history + france's almost queens

[upennmanuscripts]

Ms. Codex 1233 is a pretty amazing manuscript. Originally written in the early-to-mid 15th century, it was used continuously through the end of the 18th century. Written in Cologne and probably used by the canons in the Cologne Cathedral, this notated breviary (a liturgical book containing the canonical hours - daily prayers - with musical notation) includes notes and additions made up to 1794. It also includes splatters of candle wax and one page that got a little too close to a candle!

🔗:

[53v3nfrn5]

Lotus Vessel made of jade with a crouching toad. 17th/18th-century.

[queenfredegund]

Women in History Month (insp) | Week 4: Dynastic Daughters