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The pose, thought of as being stately, was copied by other portrait painters across Europe and America. Most paintings and photographs show the right hand inserted into the waistcoat/jacket, but some sitters appear with the left hand inserted. The pose was also often seen in mid-nineteenth century photography. [2]
The frog or pankou is composed of two parts: a Chinese button knot or other decorative knot (or even a toggle) on one side; and a loop attached on the opposite side, through which the knot is passed and which holds it in place. The knot is perceived as the male element, while its paired loop is considered the female.
Women wore their hair high upon their heads, in large plumes. To create tall extreme hair, rolls of horse hair, tow, or wool were used to raise up the front of the hair. The front of the hair was then frizzed out, or arranged in roll curls and set horizontally on the head. Women turned their hair up in the back often in a knot.
Overall, the portrait is a symbol of Florentine elegance in the 15th century. Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the ...
The jacket was further decorated with patterns sewn in bullion lace, often in a pattern matching that of the dolman worn beneath it. The front of the jacket was distinctive and typically featured several rows of parallel froggings and loops, and either three or five vertical lines of buttons. For officers of the British Hussars this frogging ...
A lapel pin, also known as an enamel pin, [1] [2] is a small pin worn on clothing, often on the lapel of a jacket, attached to a bag, or displayed on a piece of fabric. Lapel pins can be ornamental or can indicate the wearer's affiliation with a cause or an organization, such as a fraternal order or religious order ; in the case of a chivalric ...
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The subject's head may turn from "full face" (front view) to profile view (side view); a "three-quarter view" ("two-thirds view") is somewhere in between, ranging from almost frontal to almost profile (the fraction is the sum of the profile [one-half of the face] plus the other side's "quarter-face"; [5] alternatively, it is quantified 2 ⁄ 3 ...
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