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it was primarily a foundation garment, the gamurra often was worn
under another dress. The most common outer garments were the giornea,
the cioppa or opelanda. The giornea was a simply constructed garment
open in front and on both sides. (Figure 2,
center front Figure and Figure 3, Figure left front) Sleeveless
and joined only at the shoulder, it had little constructed shape
of its own. The oppelanda was basically the Italian version of a
houppelande. There was a large margin for creativity in designing
the opelanda. It was generally a very full garment, both in body
and sleeves, usually lined, some even with fur. While some relied
simply on the richness of texture in fabric for its style, others
were generously decorated. Dagges, embroidery, fringe, pearls, belts
and jewelry all added glory to the yards of fabricvi.
In fact often, embellishment was reserved for the outer garments,
leaving the gamurra underneath unadorned. In all cases, the design
for these outer dresses were such that the under layers were visible
in some way. Always either a sleeve or bodice lacings peaking out
from underneath.
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The
gamurra's value as a foundation garment was evident in the shape it
added to the outer garment. In the painting Resurrection of the Boy,
Ghirlandaio, 1485, (Figure 3) this effect is especially apparent.
I believe the shape of the white brocade giornea is absolutely due
to the gamurra under it. The upper half of the giornea lays smoothly
against the fitted bodice under it, but the skirt opens fully, falling
in beautiful waves to the floor. This structure given to the outerdress
is due in part at least to the construction of the gamurra below it.
The gamurra bodice is very tight fitting, molding the body and holding
it firmly in place. This closeness can be seen in Figure
2, the Figure far left, and in Figure 7,
Figure in blue on the left. |
