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268:, created by Matteo Pagano ended with the poem “If beauty and honesty make you shine like the stars in heaven, virtue will make you even more beautiful.” Many pattern books after this did similar things to encourage their largely female audience to participate in lace work, often comparing them to famous poets, painters, and other artists. Most women were rather unsuccessful in their own needlework efforts, however, Parasole perfectly exemplifies what these men encouraged women to become.
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consists of sixteen petals, while the complementing designs consist of four petals each. This evokes a beautiful symmetry within each segment of the piece, as well as throughout the piece as a whole. The entire work contains a variety of other designs, including some that are rather similar to this particular design. Many of her designs in
162:. This treatise was so popular that it was reprinted several times shortly following its release. Her husband, Leonardo, created the woodblocks used to print her illustrations in the publication. Parasole’s designs in this piece were very similar to those in many of the most prominent botanical treatises of the time, mainly
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She gathered much of her inspiration from the famed botanical garden of Prince Cesi of
Acquasparta. Many of her designs in her lace books consisted of floral patterns, likely from this garden. Parasole also worked on many illustrations for Prince Cesi. Unfortunately, none of her illustrations have
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The techniques of lace work developed rapidly throughout the middle of the sixteenth century. In the early sixteenth century, lace work consisted of “simple patterns of drawn threads or cut-work.” These types of works composed books such as the
Zoppino (1529) and the Vavassore (1532). Towards the
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contains a design consisting of a floral pattern of a large, round flower at the center, surrounded on four corners by a smaller floral design contained within a square. This design is repeated throughout the piece, separated by yet another floral pattern in between occurrences. The centerpiece
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Despite the many similarities, her illustrations were not without obvious creativity. While she maintained the typical portrayals of each plant, she took her own liberties of modifying landscapes as she saw fit. Some of her illustrations included people while others consisted of plants within a
205:, published by Antonio Fachetti, was the first full pattern book to be designed by a woman. As a pioneer in her field, Parasole’s work was astonishing. She demonstrated immense understanding of the composition of the lace with which her readers would work and follow her original designs.
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Isabella
Parasole married Leonardo Norsini, an Italian artist himself. Norsini decided to take his wife’s surname in marriage due to it being far more distinguished than his own. He engraved many of the blocks needed in order to print her illustrations for
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latter part of the sixteenth century, lace work became more elegant as more intricate floral designs became possible through new techniques not confined to the traditional rectangular cloths. Parasole excelled in designing these types of patterns.
135:, dedicated to Juana de Aragón y Cardona (1575–1608), and in 1616 she published another book on the methods of working lace and embroidery, with ornamental cuts, which she engraved from her own designs. She dedicated that book to
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Textile pattern books were often aimed at a feminine audience. In Italy, it was tradition for mothers to pass on lace books to their daughters. One work,
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Teatro delle nobili et virtuose donne dove si rappresentano varij
Disegni di Lauori nouamente Inuentati, et disegnati da Elisabetta Catanea Parasole
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Her sister, Geronima, was also an artist who worked with engravings and is most known for her woodcut of
Antonio Tempesta’s Battle of the Centaurs.
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TOMASI, LUCIA TONGIORGI (2008). ""La femminil pazienza": Women
Painters and Natural History in the Seventeenth and Early Eighteenth Centuries".
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been recovered. Many of her lace pattern books, however, have been and are on display at the
Metropolitan Museum of Art in New York City.
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University of
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garden or a pot. She also added animals, hills and other environmental factors to display her originality and skill.
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Parasole was one of the first and most prominent textile pattern designers of her time. Her first publication,
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Parasole’s childhood is largely a mystery, however, her name implies that she was born near Sicily, Italy.
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Speelberg, Femke (2015). "Fashion & Virtue: TEXTILE PATTERNS AND THE PRINT REVOLUTION 1520–1620".
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She had one son, Bernardino, who studied under
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Wardle, Patricia (2003). ""Wrought with cuttworke": Een stel 17de-eeuwse textilia".
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have been used in forms of elegant decorations such as carpets and tapestries.
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Teatro delle Nobili et
Virtuose Donne..., title page (recto) MET DP358053
80:(ca. 1570 – ca. 1620) was an Italian engraver and woodcutter of the late-
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Parasole was commissioned to create illustrations for Castore Durante’s
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Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.).
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Design for lace, from folio "Lavori di Ponto Reticella", from book
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Dictionary of Painters and Engravers, Biographical and Critical
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without her creativity and extreme attention to detail.
699:"Giovanni Andrea Vavassore | Esemplario di Lauori..."
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Fiore D’Ogni Virtu Per le Nobili Et Honeste Matrone
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168:De historia stirpum commentarii insignes
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675:"Nicolò Zoppino | Esemplario di lavori"
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131:. She published a book in 1597 called
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