Bring me an Andrienne

Oria came back from the wardrobe room with a richly embroidered dark pink Andrienne ornamented with a filigree of flowers in silver thread.

“Yes, that will do nicely,” Catterina confirmed, as the old maidservant came up beside her to help her dress.

What kind of clothes were worn by Catterina, Marcello, Cecilia, Francesco and the other characters from The Laws of Time?

Regarding the styles and clothes of the 1730s, there are various writings and many paintings, but above all there are museums and collections where you can see the original outfits.

The dress style for men was rather uniform, not so much in the colours—often very bright—but in the shape, consisting basically of three pieces: the velada, a fitted tailcoat; the camisiòla, a sleeveless vest worn under the tailcoat; and the braghesse, breeches reaching to just below the knee. The Museum of Palazzo Mocenigo in Venice exhibits over fifty specimens of the vest-like camisiòla. Completely buttoned at the front, it was a widespread style at the end of 1600s. Initially it was long, even down the knee, then it was worn shortened to the waist. Meanwhile, it was accentuated with decorations by embroiderers, who created true masterpieces.

In addition to the velada tailcoat, the undershirt and the trousers, there was a series of accessories that included stockings—often yellow, red, or multi-coloured, although nobles wore only a single colour—shirts, lace, cummerbunds, buckles and shoes. A white silk scarf was usually worn at the throat.

Over this outfit the tabarro could be worn, a cloak that might be white silk in summer or made of a heavier fabric for winter, scarlet for the nobles and black or ash coloured for the artisans and workers. In reality, the tabarro was a garment for the non-aristocratic classes, not for the nobles. At the beginning of the eighteenth century, its usage began to spread, even amongst the patricians, distinguished only by the colours. The government tried repeatedly to prevent its use among the ruling class. As late as 21 February 1724, the State Inquisitors issued a command decreeing that the patricians must not appear in public places “in habit different to the usual”, i.e., nobles must wear the toga and not the tabarro. By law, too, even the men controlling the entrances to the ridotti were to prevent nobles dressed in the tabarro from entering the premises and were obliged, as well, to report them. Despite the law in 1704 confirming the toga as the official patrician dress code, and outlawing any modification to it, transgressions still occurred to work around it. Sometimes the garment was left open at the front to show off flashy clothes worn underneath, or, as soon as the men left their offices or the Great Council, the toga was replaced and deposited in rooms off the arcades of the Procuratie.

The women’s clothing was much more complicated, variable and subject to fashion, including, for example, the Andrienne dress, which was a style developing a very widespread popularity in those years. In Venice this dress was known as the Andriè, and was a long robe de chambre that had been introduced into fashion by the actress Therese Dancourt in 1704, when she wore it the the performance of the play “Andrienne”. This style was very successful for almost the whole of the 18th century, and was characterised by a close-fitting bust, a wide neckline and a folded open panel behind it, which fell from the shoulders to the ground, over a skirt or petticoat supported by the panier.

The sleeveless vest worn under the tailcoat, in Venice was called camisiòla, and it was one of the main men’s clothing items.
Completely buttoned at the front, it was a widespread style at the end of 1600s. Initially it was long, even down the knee, then it was worn shortened to the waist. Meanwhile, it was accentuated with decorations by embroiderers, who created true masterpieces.
The Museum of Palazzo Mocenigo in Venice exhibits over fifty specimens of the vest-like camisiòla.

Shoes
Date: 1730–55
Probably British
Silk and metal
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, New York, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Clarence R. Hyde, 1928

Shoe
Date: 1730–55
Probably British
Silk and metal
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, New York, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Clarence R. Hyde, 1928

Shoes, 1720-1730
©Victoria and Albert Museum, London

Shoes
Origin: Great Britain
Date: 1720-1730
Silk brocade and leather
©Victoria and Albert Museum, London

Robe à la Française
Date: 1750–75
Origin: French
Silk
Credit Line: The Metropolitan Museum of Art, New York – Purchase, Irene Lewisohn Bequest, 1954

Dress
Date: 1730–50
Probably British
Silk
The Metropolitan Museum of Art, New York – Purchase, Irene Lewisohn Bequest, 1959

Shoes
Date: 1720–40
Origin: European
Medium: silk, leather, wood, metallic
Credit Line: The Metropolitan Museum of Art, New York – Gift of International Business Machines Corporation, 1960

Robe
Date: mid-18th century
French
Silk, metallic
The Metropolitan Museum of Art, New York – Gift of Mrs. Hervey Parke Clark, 1961

Robe à la Française
Date: 1740s
Origin: British
Medium: silk, pigment, linen
Credit Line: The Metropolitan Museum of Art, New York – Harris Brisbane Dick Fund, 1995

Dress
ca 1725, British
Silk.
The Metropolitan Museum of Art, New York Purchase, Irene Lewisohn Bequest, 1964

Detail of a magnificent camisiola, the sleeveless vest worn under the tailcoat, exhibited at the Museum of Palazzo Mocenigo in Venice.

The cut of a men’s tailcoat, which in Venice they called a velada. In the background, two camisola vests, which were worn under the coat.
Palazzo Mocenigo Museum, Venice.

Due manichini al Museo di Palazzo Mocenigo, a Venezia, mostrano gli abiti maschili settecenteschi e i vari pezzi d’abbigliamento: la camisiola (il gilet), la lunga giacca che chiamavano velada, cioè la marsina, e le braghesse che coprivano il ginocchio. Si aggiungeva poi una serie di accessori che comprendevano le calze, ovviamente lunghe e colorate, le camicie coi pizzi che emeregevano dalle maniche della giacca, le scarpe. Al collo era avvolto un foulard di seta bianca.

Another elegant camisiola, the sleeveless vest worn under the tailcoat, exhibited at the Museum of Palazzo Mocenigo in Venice.

A room in the Museum of Palazzo Mocenigoin Venezia.

Photo © Andrea Perego

Shoes
Date: 1700–1739
Medium: silk
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Clarence R. Hyde, 1928

Shoe
Date: 1700–1739
Medium: silk
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Clarence R. Hyde, 1928

Another elegant camisiola, the sleeveless vest worn under the tailcoat
French, 18th century
Medium: silk
The Met – Gift of Henry Dazian, 1933

Shoes
Date: 1690–1729
Probably British
Medium: silk and metal
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Herman Delman, 1954

Shoe
Date: 1690–1729
Probably British
Medium: silk and metal
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Herman Delman, 1954

Shoe
Date: 1700–1720
Probably British
Medium: silk and leather
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Herman Delman, 1954

Shoes
Date: 1700–1720
Probably British
Medium: silk and leather
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Herman Delman, 1954

Shoe
Place of origin: Great Britain (made)
Date: 1730-35 (made)
Materials and Techniques: Silk brocade and leather
©Victoria and Albert Museum, London

Shoes
Place of origin: Great Britain (made)
Date: 1730-35 (made)
Materials and Techniques: Sillk brocade and leather
© Victoria and Albert Museum, London

Vest worn under the tailcoat. In Venice it was called camisiòla
Date: ca. 1750
Culture: American or European
Medium: doeskin, silk
Credit Line: The Met – Gift of Mrs. Robert Woods Bliss, 1943

Robe Volante
France, ca. 1730
Medium: silk
The Met – Purchase, Friends of The Costume Institute Gifts, 2010

Man Suit
Date: ca. 1760
Culture: British
Medium: wool, gilt metal
Credit Line: The Met – Purchase, Irene Lewisohn Bequest and Polaire Weissman Fund, 1996