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Classic Costumes, Theatrical, Renaissance, Medieval & Ancient
In our catalogue you shall find a vast variety of theatrical and classic costumes. These are designed and manufactured by us using wonderful textiles, designs and colors. These are classical costumes of various periods starting from the Middle Ages (medieval costumes), the Renaissance (renaissance costumes), baroque costumes, Ancient Greek costumes, costumes inspired from theatrical plays (theatrical costumes), etc.
Each one of our classic, renaissance, baroque, theatrical, historical costumes of our Company, are designed with passion, care, imagination, knowledge and are manufactured with insistence on the quality of the selected materials we use. All these aspects combined with the best prices in the market, have given us an outstanding place both in the Greek and the international markets since we export our classical and theatrical costumes in various continents and countries such as Germany, France, America, Australia, etc.
More specifically, in the catalogue of our classical, theatrical costumes you may find available for wholesale and retail sale the following costumes: Theatrical costumes: Hamlet Costume, Carmen Costume, etc.
Renaissance costumes: Venetian Lady Costume and Venetian Lord Costume, etc.
Ancient Costumes: Ancient Greek Man/Woman Costume, Roman Costume, etc.
Classical and Historical Costumes: Anthony Costume, Julius Caesar Costume, Josephine Costume, Justinian Costume, Theodora Costume, Count Dracula Costume, and others.
Ancient Gods' costumes: Zeus Costume, Aphrodite Costume, and others.
The Renaissance, also known as "Il Rinascimento" (in Italian), was an influential cultural movement which brought about a period of scientific revolution, religious reform and artistic transformation, at the dawn of modern European history. It marks the transitional period between the end of the Middle Ages and the start of the Modern Age. The Renaissance is usually considered to have originated in the 14th century in northern Italy and begun in the late 15th century in northern Europe.
The Italian Renaissance was intertwined with the intellectual movement known as Renaissance humanism and with the fiercely independent and combative urban societies of the city-states of central and northern Italy in the 13th to 16th centuries. Italy was the birthplace of the Renaissance for several reasons.
The first two or three decades of the 15th century saw the emergence of a rare cultural efflorescence, particularly in Florence. This 'Florentine Enlightenment' (Holmes) was a major achievement. It was a classical, classicising culture which sought to live up to the republican ideals of Athens and Rome. Sculptors used Roman models and classical themes. This society had a new relationship with its classical past. It felt it owned it and revived it. Florentines felt akin to 1st century BC republican Rome. Rucellai wrote that he belonged to a great age; Leonardo Bruni's Panegyric to the City of Florence expresses similar sentiments. There was a genuine appreciation of the plastic arts—pagan idols and statuary—with nudity, expressions of human dignity, etc.
A political map of the Italian Peninsula circa 1494.A similar parallel movement was also occurring in the arts in the early 15th century in Florence—an avant-garde, classicising movement. Many of the same people were involved; there was a close community of people involved in both movements. Valla said that, as they revived Latin, so was Latin architecture revived, for example Rucellai's Palazzo built by Leone Battista Alberti. Of Brunelleschi, he felt that he was the greatest architect since Roman times.
Sculpture was also revived, in many cases before the other arts. There was a very obvious naturalism about contemporary sculpture, and highly true to life figures were being sculpted. Often biblically-themed sculpture and paintings included recognizable Florentines.
This intense classicism was applied to literature and the arts. In most city-republics there was a small clique with a camaraderie and rivalry produced by a very small elite. Alberti felt that he had played a major part, as had Brunelleschi, Masaccio, etc. Even he admitted he had no explanation of why it happened.
There are several possible explanations for its occurrence in Florence:
1. The Medici did it—the portrait and solo sculpture emerged, especially under Lorenzo. This is the conventional response:
Renaissance Florence = The Medici = The genius of artisans = The Renaissance
Unfortunately, this fails to fit chronologically. 1410 and 1420 can be said to be the start of the Renaissance, but the Medici came to power later. They were certainly great patrons but much later. If anything, the Medici jumped on an already existing bandwagon.
2. The great man argument. Donatello, Brunelleschi and Michelangelo were just geniuses.
This is a circular argument with little explanatory power. Surely it would be better, more human and accessible to understand the circumstances which helped these geniuses to come to fruition.
3. A similar argument is the rise of individualism theory attributable to Burckhardt. This argues for a change from collective neutrality towards the lonely genius. Goldthwaite says it was part of the emergence of the family and the submersion of the clan system.
However, the Kents (F.W. and Dale) have argued that this was and remained a society of neighborhood, kin and family. Florentines were very constrained and tied into the system; it was still a very traditional society.
Leonardo da Vinci, Lady with an Ermine, Czartoryski Museum, Kraków4. Frederick Antal has argued that the triumph of Masaccio et al. was the triumph of the middle class over the older, more old-fashioned feudal classes, so that the middle class wanted painters to do more bourgeois paintings.
This does not make sense. Palla Strozzi commissioned old fashioned paintings whereas Cosimo de' Medici went for new styles in art.
5. Hans Baron's argument is based on the new Florentine view of human nature, a greater value placed on human life and on the power of man, thus leading to civic humanism, which he says was born very quickly in the early 15th century. In 1401 and 1402, he says Visconti was narrowly defeated by republican Florence, which reasserted the importance of republican values. Florence experienced a dramatic crisis of independence which led to civic values and humanism.
Against this we can say that Baron is comparing unlike things. In a technical sense, Baron has to prove that all civic humanist work came after 1402, whereas many such works date from the 1380s. This was an ideological battle between a princely state and a republican city-state, even though they varied little in their general philosophy. Any such monocausal argument is very likely to be wrong.
Kent says there is plenty of evidence of preconditions for the Renaissance in Florence.
In 1300, Florence had a civic culture, with people like Latini who had a sense of classical values, though different from the values of the 15th century. Villani also had a sense of the city as daughter and creature of Rome.
Petrarch in the mid-14th century hated civic life but bridged the gap between the 14th and 15th centuries as he began to collect antiquities.
The 1380s saw several classicising groups, including monks and citizens. There was a gradual build-up rather than a big bang. Apart from the elites there was already an audience for the Renaissance. Florence was a very literate audience, already self-conscious and aware of its city and place in the political landscape.
The crucial people in the 14th and 15th century were
Manuel Chrysoloras: increased interest in the grammar of ancient architecture (1395)
Niccoli: a major influence on the perception of the classics.
Their teachings reached the upper classes between 1410 and 1420 and this is when the new consciousness emerged. Brucker noticed this new consciousness in council debates around 1410; there are increased classical references.
Florence experienced not just one but many crises; Milan, Lucca, the Ciompi. The sense of crisis was over by 1415 and there was a new confidence, a triumphant experience of being a republic.
Between 1413-1423 there was an economic boom. The upper class had the financial means to support scholarship. Gombrich says there was a sense of ratifying yourself to the ancient world, leading to a snobbishness and an elite view of education, and a tendency for the rich wanting to proclaim their ascendancy over the poor and over other cities.
The early Renaissance was an act of collaboration. Artisans and artists were enmeshed in the networks of their city. Committees were usually responsible for buildings. There were collaborations between patricians and artisans without which the Renaissance could not have occurred. Thus it makes sense to adopt a civic theory of the Renaissance rather than a great man theory.
Main article: Northern Renaissance
The Arnolfini Portrait, by Jan van Eyck, painted 1434
Townhall in PoznanThe Renaissance spread north out of Italy being adapted and modified as it moved. It first arrived in France, imported by King Charles VIII after his invasion of Italy. Francis I imported Italian art and artists, including Leonardo Da Vinci and at great expense he built ornate palaces. Writers such as Rabelais also borrowed from the spirit of the Italian Renaissance.
Italians brought the new style to Poland and Hungary in the late 15th century. The first Italian humanist, who came to Poland in the middle 15th century was Filip Callimachus. Many Italian artists came with Bona Sforza of Milano to Poland, when she maried Zygmunt I of Poland in 1518. The Polish Renaissance is the most Italian like branch of the Renaissance outside of Italy.
From France the spirit of the age spread to the Low Countries and Germany, and finally to England, Scandinavia, and Central Europe by the late 16th century. In these areas the Renaissance became closely linked to the turmoil of the Protestant Reformation and the art and writing of the German Renaissance frequently reflected this dispute.
While Renaissance ideas were moving north from Italy, there was a simultaneous spread southward of innovation, particularly in music. The music of the 15th century Burgundian School defined the beginning of the Renaissance in that art; and the polyphony of the Netherlanders, as it moved with the musicians themselves into Italy, formed the core of what was the first true international style in music since the standardization of Gregorian Chant in the 9th century. The culmination of the Netherlandish school was in the music of the Italian composer, Palestrina. At the end of the 16th century Italy again became a center of musical innovation, with the development of the polychoral style of the Venetian School, which spread northward into Germany around 1600.
In England, the Elizabethan era marked the beginning of the English Renaissance. It saw writers such as William Shakespeare, Christopher Marlowe, John Milton, and Edmund Spenser, as well as great artists, architects (such as Inigo Jones) and composers such as Thomas Tallis, John Taverner, and William Byrd.
In these northern nations the Renaissance would be built upon and supplanted by the thinkers of The Enlightenment in the seventeenth century.
The paintings of the Italian Renaissance differed from those of the northern Renaissance in some ways. The Italian Renaissance did not only focus on religious figures but they also produced portraits of well-known figures of the day, and they also put religious figures in Greek or Roman backgrounds. During the Italian Renaissance, artists learned the rules of perspective which shows how far the object is by its size and made the paintings look three dimensional. The artists also used shading to make objects look round and real. The Italian Renaissance artists studied human anatomy and drew from the models so it would be possible for them to sketch the human body more accurately than before. At first, northern Renaissance artist still focused on religious drawings, like Albrecht Durer who portray the religious upheaval of his age. Later on, Pieter Bruegel’s works influenced later artists to paint scenes of daily life rather than religious or classical themes. During the northern Renaissance van Eycks also invented oil paint. With oil paint, artists could produce strong colors and a hard surface that could survive for centuries; these painters were called Flemish painters.