The Florence Files: Camicia Diary for Vincenzo Catena Portrait

July, 2004:

 Looking at the Portrait of the Unknown Lady, by Vincenzo Catena (right), it appears that she is probably an upper middle class (Merchant's daughter?) or lower noble class. Why? Check out the outfit. There is no sign of pearls, goldwork? (hard to see) or agelets - all things that could be found on Renaissance garb and camicias and things that were often prohibited in lower ranks by local sumptuary laws. Even the hair filet is restrained. Remember this is the time of conspicuous comsumption. But wait, there are signs of wealth there - ribbons on the sleeves and upper bodies of the dress, coloured braid on the neckline and upper body of the camicia, tufts or ribbons on the sleeves and cuffs. This is definately not a plain camicia but is certainly within many sumptuary requirements.

Where did I start?
Research. I looked for extant camicias, portraits and patterns. (See Research) Cut my Cote had a pattern based on a similar styled camicia (Italian 16th C) which is in the NY Metropolitan Museum.

The above is based on the loom width available at the time, being 22 inches (55 cm), giving a front piece, back piece and side pieces. I altered the pattern slighlty, as the material I had was 112 cm wide. In the past I have used gussets smaller than 10 inches, so I made mine about 18cm square. This ended up being snug (but not tight) across the chest. This has some advantages - less bulk around the armscythe (lower) but still giving a generous bulk to pull through the sleeve, at the top but I think I prefer the looseness of previous camicias and will probably try a larger gusset next time.

Materials:
Though linen is most commonly used for camicias, I had a stash of $2/m cotton with a lovely 'drawn thread' pattern. Though not mainstream, there has been some mention of cotton being used in Renaissance Europe, mainly by the very rich.
Looking at the above portrait, it can be seen that there is coloured braid. I managed to get some nice red braid, on sale (yeah!) in a similar style to some of the bobbin lace made braids I have seen in Le Pompe.

Cotton was being used for some forms of clothing, in the 15th and 16th centuries Italy. Documentation can be found in

The camicia was made up to my modified pattern. The only change was that I moved the sleeves further down the body of the camicia. This made the back higher than the front.
Nowhere in my research could I find documentable evidence of a 'raglan' sleeve as is commonly used in renaissance costume recreation. It also appears that the popular consensus is that raglan sleeves were not used at this time.
The neckline and sleeves were gathered into a simple neckband and the braid was handsewn in place.
The braid was only done part way down the camicia, as it was a camicia of a upper middle/lower noble class not an upper noble, who would have more money to spend and therefore more likely to have the braid over the entire camicia. A lower rank would logically want to show off what wealth they had - where it could be seen!


I have read that drawstring necklines were 'not period'. However I have found one portrait (Woman in a Yellow Veil by Raphael) which appears to have a drawstring neckline. (right)

A similar example can be seen in the English chemises from the Victoria and Albert museum. (below L) and an example of some possible open work, similar to the pulled thread work on the material I have, seen on the shoulders (right):

Sleeves: there appears to be tufts or ribbons that catch the material in a line down the sleeve. (Original portrait on the left). It also appears that the sleeve is folded over itself (tucks) at this point.
At the cuff there appears to be a red ribbon possibly tying the cuff, and the gathered material at the cuff is also 'caught' and held in position (almost like a ruff) with the same tufts.
Right is my version: I used embroidery floss as this was easier to work with, looked similar to the picture and (in an effort again to keep costs down) was cheaper and already in my stash.

Finally! The finished camicia firstly by itself and then as a complete outfit.

Bibliography: at this time.
The neckline and sleeves were gathered into a simple neckband and the braid was handsewn in place.
The braid was only done part way down the camicia, as it was a camicia of a upper middle/lower noble class not an upper noble, who would have more money to spend and therefore more likely to have the braid over the entire camicia. A lower rank would logically want to show off what wealth they had - where it could be seen!


I have read that drawstring necklines were 'not period'. However I have found one portrait (Woman in a Yellow Veil by Raphael) which appears to have a drawstring neckline. (right)

A similar example can be seen in the English chemises from the Victoria and Albert museum. (below L) and an example of some possible open work, similar to the pulled thread work on the material I have, seen on the shoulders (right):

Sleeves: there appears to be tufts or ribbons that catch the material in a line down the sleeve. (Original portrait on the left). It also appears that the sleeve is folded over itself (tucks) at this point.
At the cuff there appears to be a red ribbon possibly tying the cuff, and the gathered material at the cuff is also 'caught' and held in position (almost like a ruff) with the same tufts.
Right is my version: I used embroidery floss as this was easier to work with, looked similar to the picture and (in an effort again to keep costs down) was cheaper and already in my stash.

Finally! The finished camicia firstly by itself and then as a complete outfit.

Bibliography: