What was an ideal of female beauty in Renaissance?
Since 15th century church asceticism in culture began to come to naught gradually. The social life gets the increasing weight and actively interferes in art. The Italian humanists rediscover canons of antique beauty for Europe. Together with them also the attention to a human body per se comes back. Nakedness even more often appears in pictures of secular contents.
Masters of the Early Renaissance still not too move away from a medieval ideal of beauty: “ Venus “ Botticelli possesses a familiar fragile figure with sloping shoulders.
However with the advent of so-called “ titans of the Renaissance “ - da Vinci, Michelangelo, Raphael - the ideal female figure changes. Now it is stately, full-blooded, “ corporal “ the woman of high growth with big shoulders, wide hips, full hands and legs. It is from far away easy to confuse powerful torsos of women of Michelangelo with man`s. Chanting of corporal completeness - a symbol of vital force - reaches apogee in Titian and Rubens`s pictures.
Adynamic breasts of the medieval beauty now not in fashion. In the price the issued breast of the mature woman, it is desirable learned pleasure of motherhood, but at the same time not flabby. Though, of course, on present “ silicone “ breasts of ample bodied beauties from Rubens`s pictures will seem to times even rather modest. One of canons of beauty was also the whiteness Perseus. “ It has a white neck, and under it two breasts decorated and speckled by blue veins “ - so Hans Saks sang of the lady. The clothes of noblewomen get courageous decolletes and corsets and bodices raising a breast.
Full “ exposed flesh “ at first it was allowed to draw only on antique plots. “ Pertinent “ the naked breast was considered also at the feeding Virgin Mary. It led to the fact that pictures were captivated Diana, Venus and Madonna (a type of a breast of the last hardly caused devout feelings in the viewer), in which contemporaries recognized quite specific beauties, often wives and mistresses of exclusive persons.
The close dress of a gothic style is replaced volume, the waist holds natural position. Full sleeves and a skirt, heavy fabrics (the atlas and a velvet) add to a female figure of ponderability. At this particular time there is a new word “ grandezza “ meaning a majestic, noble exterior.
From the Middle Ages there is a fashion on a high forehead which smoothness of lines even eyebrows should not break (them often shaved). Hair “ are issued “ on freedom. Now they have to be surely visible - long, curling, it is desirable golden.
Writers of the Renaissance about female beauty:
“ The value of hair is so big that if the beauty was decorated with gold, pearls and would put on in a magnificent dress, but did not put the hair in order, it did not look neither beautiful, nor elegant... hair of the woman have to be gentle, dense, long, wavy, in the color they have to assimilate to gold, either honey, or the burning sunshine. The constitution has to be big, strong, but at the same time noble forms. Excessively tall body cannot be pleasant, just as small and thin. White skin color is not fine because it means that it is too pale: skin has to be slightly reddish from blood circulation … Shoulders have to be wide … On a breast any bone should not appear. The perfect breast raises smoothly, is imperceptible for an eye. The most beautiful legs are long, harmonous, below thin, with strong snowy - white calves which terminate in a small, narrow, but not lean foot. Forearms have to be white, brawny … “.
(Agnolo Firenzuola “ About beauty of women “)
“ … stout women deserve preference at least for the sake of only their beauty and greatness because they, as well as for other their perfection, appreciate these last. So, it is much more pleasant to operate a high and beautiful fighting horse, and the last gives to the rider much more pleasures, than a little jade “ “.
(P. Brant) of