EYEGLASSES AND SURROUNDINGS Extraordinary stories of revolutionary inventions
The collections of the Museo dell’Occhiale in Pieve di Cadore
FABIANO Editore
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FABIANO Editore
EYEGLASSES AND SURROUNDINGS Extraordinary stories of revolutionary inventions
The collections of the Museo dell’Occhiale in Pieve di Cadore
EYEGLASSES AND SURROUNDINGS
Extraordinary stories of revolutionary inventions
The collections of the Museo dell’Occhiale in Pieve di Cadore
text byAlessandra Albarello
introduction byMichelangelo Pistoletto
with editorial contribution byLaura Zandonella, curator of the Pieve di Cadore Museum
FABIANO Editore
on the coverfrom the top: Pendants called “Lunettes Breloques” which “Les Incroyables” wore pinned to their waistcoat;Emilio Pucci sunglass model from the late 1970’s-early 1980’s with clear, colourful plastic tinted frame;arched copper eyeglasses with violet lenses, Germany, late 17th-early 18th century;detail of a Chinese glasses case fromapproximately 1880.
Text
Alessandra Albarello
Photos
Baggiofotostudio, Pieve di Cadore (BL)
Eyewear Museum Archives
ANFAO and MIDO Archives
Contributors:
Laura Zandonella and Ivana Canaider
Copyright 2011
Fabiano Editore
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The Authors and Publisher disclaim
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Graphics and printing:
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Layout:
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ISBN 978-88-89629-93-2
Printed: December 2011
Museo dell’Occhiale – Pieve di Cadore
President
Vittorio Tabacchi
Curator
Laura Zandonella
Executive Committee
Vittorio Tabacchi, President
Primo Barbon
Luigino Boito
Francesco Gili
Renato Sopracolle
Preface
by Vittorio Tabacchi
Introduction
by Michelangelo Pistoletto
part one – The Museum
The Past. The Present. And, above all, the Future
The history of a museum is the history of its collections. And of a woman
part two – The origins of eyewear
From the bridge to the side arms.
From Ugo di Provenza to Camillo Benso, count of Cavour
Points of view and support
Philosophy, science and religion. Beyond the visible
Queen Margherita and the first factory in Cadore
Intriguing messages and valuable gifts
Travelling toward modernity
part three –Wunderkammer - The collector’s room
The art of seeing (and not seeing)
When a glance becomes an “Objet de vertu” (Object of Virtue)
An eye for an eye: symbolism and representation
part four – The 20th century and contemporary eyeglasses
1920’s-1930’s
1940’s-1950’s
1960’s-1970’s
1980’s-1990’s
afterword
Some reflections around the Eyewear Museum
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Summary
7
Preface
My relationship with the Museum began even before its creation, and was born from the
passion I have always had for collecting, and especially from my strong sense of belonging to
the area. This area, “Cadore,” has become the main stage of an exemplary story of “Made in
Italy” production, since back when the first Italian eyewear manufacturer was inaugurated in
Calalzo di Cadore in 1878. The Eyewear Museum, part of a context so sensitive to the culture
of this object, has since become the undisputed symbol of an industry that has been able to
transform tradition in creative energy, drawing from the past to place itself within the new
contemporary dynamics of an international market. From that first company which, at the end
of the 1800’s was even visited by Queen Margherita of Savoy, many more companies were cre-
ated in the area. Companies which, thanks to their know-how, have been able to successfully
establish the “Made in Italy” concept with pride all over the world, even interpreting the labels
and most prestigious international fashion and design brands. More protected compared to
Venice, but still included in the historic fabric that made the lagoon city unique, Cadore has sin-
ce become the perfect stage to represent one of the greatest inventions in history: eyeglasses.
A logical consequence of a glass-making culture, whose roots in this area go back to the 13th
century, as evidenced by the ancient Venetian “Capitolari delle Arti Veneziane” arts publication,
dated 1284. Even if eyeglasses are the absolute protagonists of the museum, there are other
objects that represent the meaning and symbolism of vision. The evolution of eyewear and
everything related to vision has no boundaries. These have always tried to find their sources of
inspiration in other areas, from design to art, fashion to music, thus prompting the contours
of a varied, lively and complex cultural stage, of which they are the real stars. With more than
four thousand pieces presented in rotating exhibits, the Eyewear Museum has, over time, from
the fifteenth century to present day, become a point of reference and documentation, espe-
cially important for those who are interested in the history of fashion and costume. But it has
also become the symbol of the whole Italian eyewear industry which was born and continues
to grow here, making its voice heard worldwide and thus favouring its international vocation.
Vittorio Tabacchi
9
Introduction
I first came to the Pieve di Cadore eyewear Museum in 2003 for the exhibition of my works
entitled “the eye is the mirror”, which was prepared within the museum itself and was dedi-
cated to the 125th anniversary of the Belluno eyewear district. I was thrilled to stroll down
those halls full of precious objects, which sparkled and shone as they led me through the
rich and fascinating history of eyewear. While observing my “Reflective” paintings exhibited
there, I could sense the close relationship between their meaning and that which is inherent
to every detail of the museum’s contents. First of all, let’s say that I’m a “visual” artist, a term
which replaces that of “painter” when the artistic instruments come to include more modern
technologies, such as photography, video or even lasers. My primary instrument is the mirror:
a tool which infinitely expands the sphere of the imagination, but also confines it to the point
that it focuses directly upon the eye when brought as close as possible to the mirror itself.
In an objective and practical sense, it’s the phenomenology of vision that becomes a compo-
nent of art, while maintaining the concept of “representation” intact. But leaving the image of
the eye aside, with scientific logic it is possible to follow a path that penetrates into the eyeball
all the way to the brain and to encounter a phenomenon similar to that which is described
above. The optical photoreceptors translate light into electric fluxes that reach the brain and
project the images into it, as is the case with a mirror: the eye, therefore, is the tool that makes
the mind reflect. This establishes an endless reflective loop: the eye is the mirror of the objects
and the mind “reflects”, or rather thinks of the objects, producing actions that reflect the will
of the mind itself. By placing a lens between the eye and the world, we can artificially correct
the natural defects of vision. By placing lenses upon lenses, we increasingly distance ourselves
from the sphere of that which is visible. Telescopes transport us into the cosmos, while micros-
copes lead us into the microcosm. We are in the eyewear museum, and we can take pathways
that are both spatial as well as temporal. We run back and forth from ancient history to the
present day, following the optical “vehicles” on display; we take in the news from yesterday as
well as that of today; we observe the dressings that surrounded and adorned the lenses in the
old days and compare them with the whirlwind of images reflected in modern lenses. But it is
the frames themselves that embody these delicate transparencies, that help us to recognize
the styles and fashions, that allow us to appreciate the creativity and imagination of such true
talents, that make us feel the emotion and the surprise of discovering the incredible ingenuity
expressed by so many of these objects. The science of eyeglasses is one that inspires the
imagination to the point that, in many cases, it leads to true poetry in terms of the shapes,
lines and colours. It is said that the eye is the mirror of the soul. I would add that eyeglasses
themselves give soul to the eyes, bringing them to life by adding expression to the face.
Eyeglasses are like the soul in that they can generate profound emotions, such as shame or
enthusiasm. Eyeglasses can be something behind which to hide or can otherwise be flaunted
in a provocative and aggressive manner. They can be a display of vanity or represent a sense
of dignity. Eyeglasses are always elements that stand between ourselves and others, thus
rendering them an intimate and personal, yet social phenomenon. The educational function
of the eyewear museum must therefore be recognized as one of its most relevant features.
Michelangelo Pistoletto
p a r t o n eThe MuseumThe Past. The Present. And, above all, the Future.
The history of a museum is the history of its collections. And of a woman
13
EYEGLASSES AND SURROUNDINGS
The Past. The Present. And, above all, the Future.
A building of glass and steel, counterpart to the old wood and stone
home dwelling of painter Tiziano Vecellio (1480/1490-1576) and to the
bitter-sweet landscape of the Dolomites, which reflect iridescent and
mutable on its surface. The Eyewear Museum, with its shining modernity,
challenges the memory of these places, imposing its sophisticated high-
tech architecture like a natural bridge between the past, present and
future. Inside, a combination of materials evoke traditional craftsmanship
and bold colours define the bright space. Where the compelling story is
told of one of the most important industries in the world, born right here
in these geographically difficult areas which were, however, particularly
rich in water sources, precious in generating the energy that initially
fed the machines. The only national eyewear museum to be bound by
the Superintendence for Historical, Artistic and Ethno-Anthropological
Heritage, it was inaugurated in 1990 in Tai di Cadore, to then be transferred
in 2007 to its new home at the Palazzo Cosmo building in Pieve di Cadore.
The museum was set up here by, among others, architect Alessandro
Mendini, not new to major museum projects carried out all over the
world. The leitmotif of the museum is naturally sight and all the symbolism
that belongs to the simple, instinctive act of looking and not just seeing.
Over 4,000 pieces from the 15th century to present day are exhibited in
rotation along a path that winds through the two floors of the museum.
The exhibits include eyeglasses, books, prints and ancient documents,
telescopes, binoculars, optical instruments, pieces of art, votive offerings
and much, more, recreating the grandeur of a complex, transverse world,
whose evolution is closely tied not only to technological and industrial but
also cultural progress. One curious piece of interest: one of the rooms,
seem from above, incorporates the structure of the optical sections of a
corrective lens.
The Museum
14
The Pas t . The P re sen t . And , above a l l , the Fu tu re .
The black and white photos here are especially poignant. Evidence of a
past that seems so very long ago. Women and men working intently on
foot pedal welding machines, bare factories, intense looks and snippets
of life made of sacrifice, but also the satisfaction of becoming part of
history. The collection is enriched with new pieces every year, following
the natural evolution of a museum and of the sector, of which Cadore in
particular in Italy in general have always been the beating heart. An industry
that has never stopped growing, thanks to the support of ANFAO (The
15
The Museum
Italian Association of Optical Goods Manufacturers), created in 1954 and
which, since 1970, has organised Mido (International Optics, Optometry
and Ophthalmology Exhibition), a trade fair which still today retains its
international leadership in the field. The Eyewear Museum, creating
synergies and collaborations with other museums, remains a living place
which continues to dialogue with its surrounding territory, involving it in a
lively and vibrant cultural debate that has lasted for many centuries.
16
The Pas t . The P re sen t . And , above a l l , the Fu tu re .
On this and the preceding page: some historical images from the 1940’s and 1950’s of the Cadore eyeglass and eyeglass case factories.
On the next page: a group of young Cadore women travelling to work by bicycle, 1954.
cap i to lo
20
The h i s to ry o f a museum i s the h i s to ry o f i t s co l l e c t ions . And o f a woman
21
The Museum
The story of a museum is the history of its collections. And of a woman
The history of a collection is almost always a story of passion. Like that of
Madame Alfred Heymann, a lady who lived between the late 1800’s and early
1900’s and belonged to the Parisian upper class. Perhaps also portrayed by
Klimt, in 1911 she wrote a book “Lunettes et lorgnettes de jadis”, a limited
edition with only 300 copies published by Parisian editor J. Leroy et Cie.
Already, though, in 1900, part of her extraordinary collection of spectacles,
Lorgnette eyeglasses, monocles, fans, theatre bifocals, telescopes and other
types appeared in the book “Les lorgnettes” by Jean Robiquet, curator of the
Musée Carnavalet of Paris, created for the important Universal Exhibition of
Paris of that same year. Journeying along the mysterious roads of destiny,
and probably also through the hands of a Spanish collector, some pieces
of that legendary collection, which many fabled over time as it suddenly
dissolved into thin air in 1925, were divided up between various collectors
and museums, with some also arriving at the Eyewear Museum in Pieve
di Cadore. It was most likely the famous Belgian optician Georges Bodart
who purchased them. His collection of about 1,600 pieces was later sold
to the Museum in 1987 and represents the core and starting point of this
wonderful adventure. It was, once again, passion which defined the history
of yet another important collection: that of Enrico De Lotto, physician and
scholar who, after having curated an exposition on the history of eyewear
in 1956 (year in which he also wrote the book “From Nero’s Emerald to the
Cadore Glasses”), revived again in 1959, expressed his dream of creating a
national eyewear museum. A dream made possible after years thanks to
the perseverance and initiative of Vittorio Tabacchi. In reality, all museums
are all an amalgam of many collections, donations, purchases sometimes
made following an emotional instinct, other times by establishing a precise
historical path. The Eyewear Museum does not escape this same logic
and, over time, a “layering” of pieces of various origins has happened,
including those of Eastern eyewear collections of antiquarian Luca Moioli,
or of Parisian optician Jean Bernard Weiss, acquired in the 90’s. Last, in
chronological order, those donated in 2001 by Giuseppe Del Favero Calalzo
di Cadore, which covers a wide range of time, focusing its attention on
Italian and foreign iconic pieces from the 1900’s and the collection of Ottica
Giacobbi received in 2009. The Eyewear Museum has always maintained a
strong bond not only with companies but has also become the symbol
of an important tradition, which chose as its home the region of Veneto
and, in particular, Cadore. Representing memories, but also the future.
And the past, but also the present.
The title page of the book “Lunettes et lorgnettes de jadis”
by Madame Alfred Heymann, published in 1911 by Parisian publishing house J. Leroy
et Cie in limited edition of 300 copies.
22
23
The Museum
On the previous page: an image taken from the book “Lunettes et lorgnettes de jadis” where some rare items that
belonged to Madame Alfred Heymann were illustrated.
On this page: two pieces probably from the Madame Alfred Heymann collection, now exhibited at the Eyewear Museum.
From the top: a precious shor t telescope in car ved ivory (France, approximately 1720) and a necessity kit in
enamelled brass, silver, mother of pear l and gold (England, ear ly 19th century).
p a r t t w o
The origins of eyewear
From the bridge to the side arms. From Ugo di Provenza to Camillo Benso, Count of Cavour
Points of view and support
Philosophy, science and religion. Beyond the visible
Queen Margherita and the first factory in Cadore
Intriguing messages and valuable gifts
Travelling toward modernity
26
From the bridge to the s ide arms. From Ugo di Provenza to Camil lo Benso, Count of Cavour
27
EYEGLASSES AND SURROUNDINGS
From the bridge to the side arms.From Ugo di Provenza to Camillo Benso, count of Cavour
In 1300, a special entry prohibiting the counterfeiting of crystal and
lenses, at the time called “roidi da ogli” (discs for the eyes) and which
differed from magnifying glasses once called “lapides ad legendum”,
was added to the “Glassware” part of the Venetian “Capitolari delle Arti
Veneziane” arts publication, published in 1284.
The competition, at a time when nothing existed and therefore everything
was yet to be discovered and invented, was relentless and perhaps unfair.
In the 13th century, glass production was transferred to the island of
Murano under the pretext of being able to better control the safety level
of an activity that made use mainly of fire, and therefore considered
potentially dangerous if worked too close to residential areas. This is the
official explanation. In actuality, although there were not then the same
sophisticated means of communication that we have today, news spread
rapidly, also because mythical figures were beginning to take shape. Part
merchants, part explorers and travellers, like Marco Polo who, following
the Silk Route and the flourishing family business in 1271, arrived in China
only to return to Italy 17 years later. Personalities who could therefore easily
reveal their findings, nullifying years and years of research, experiments
and suffering.
Protecting such an extraordinary invention was therefore an almost moral
obligation for a city that was already so advanced in terms of business,
like the city of Venice in the 13th and 14th centuries. Naturally, the study
of optical phenomena had already begun long ago and far away. Lenses
and eyeglasses were only the culmination of a meeting of civilizations and
scholars that were geographically and culturally poles apart from each
other, who consulted the writings of others.
The origins of eyewear
Clockwise from the top:detail of iron swivel head eyeglasses, Italy, late 16th and ear ly 17th century;
folding eyeglasses in tor toiseshell and silver with their case in galuchat, silver and wood, France, late 16th century, ear ly 17th century;
rare arched leather eyeglasses, Germany, built at the turn of the 16th and 17th centuries.
28
From the bridge to the s ide arms. From Ugo di Provenza to Camil lo Benso, Count of Cavour
From the top: another version of swivel head horn eyeglasses, France, late 16th century; arched whalebone model, a par ticular ly flexible material, Germany, mid-17th century.
29
The o r ig ins o f eyewear
Among the first were the Persian Avicenna (980-1037) and the Egyptian
Alhazen (965-1038), often accused of resorting to alchemy, an accusation
that had nothing to do with the validity of their findings but rather with
the prejudices of the time against those who from different cultures and
religions. In fact, the first magnifying glass lenses in rock and beryllium
crystal that circulated in the convents of religious orders were based
on studies of optics of Alhazen. The clause of the “Capitolari” confirms,
though, that optical lenses and, consequentially, eyeglasses, were actually
born in Italy at the end of the 13th century, probably favoured by the
Venetian mastery of glass-making. The last workshop in Venice in the
district of Sam Trovaso was then closed in 1796.
Another confirmation on the power of this invention comes to us from
the first pictorial representations of personalities with eyeglasses, like
Ugo di Provenza who, in the fresco by Tommaso da Modena in 1352,
wears a swivel head model, that only an obsequious and posthumous
representation of a cardinal could remain as such: suspended on his nose,
without being held up by a hand, while he is quietly writing. In the same
series of paintings, cardinal Nicolò di Rouen consults a sacred text using
a magnifying glass, this represented also for the first time in a painting.
Instead, San Gerolamo, considered protector of the spectacle, portrayed in
1480 in his studio portrait by Ghirlandaio (1449-1494) in the fresco found
From the top: swivel head silver eyeglasses complete with trefoil case in wood and
paper, France, approximately 1750; folding eyeglass case in brass and mother
of pear l, delicately engraved with floral patterns, France, 18th century.
30
From the bridge to the s ide arms. From Ugo di Provenza to Camil lo Benso, Count of Cavour
From the top: a precious specimen of arched eyeglasses called Nuremberg glasses, from the name of their original city, made in tor toiseshell and characterised by elaborate trefoil on the bridge, Germany, late 17th century; the bridge, called the “five blades” characterises this horn model, giving it a good degree of flexibility, England, ear ly 18th century.
31
The o r ig ins o f eyewear
From the top: arched copper eyeglasses with violet lenses, Germany, late 17th-ear ly 18th century.
The circles have doubled at the height of the nose with silk thread; silver glasses with double arched bridge,
France, late 18th century.
32
From the bridge to the s ide arms. From Ugo di Provenza to Camil lo Benso, Count of Cavour
On this page: arched horn eyeglasses characterised by a curious compensator and by a system of tapes to fasten it to the ears, Japan, 18th century.
33
The o r ig ins o f eyewear
in the Church of Ognissanti in Florence, is captured in the act of writing,
while a pair of rivet eyeglasses, probably made of iron, hang unused at his
desk, stripped of their function as if they were only a symbol of his spiritual
power and knowledge. Swivel head, rivet and bow specs were the first to
appear on the scene, in the second half of the 13th century, and remained
important pieces until the 18th century. In almost 500 years, different
types of materials were used, from leather to iron, whalebone to wood,
in the (vain) hope of making them more flexible, robust and stable on
the nose, as well as more comfortable. There was also room for aesthetic
digressions in this almost Darwinian evolution, as for example with the
famous Nuremberg spectacles, named for their origins. The work on
these seems like fragile, complex lace, vaguely resembling oriental glasses’
decoration, where the practice of style focused on elaborate perforated
bridge models made mainly in tortoiseshell, jade and precious stones and
embellished with a curious “compensator” in an attempt to stabilise them
on the nose. Many have insinuated over the years that it was the Chinese
to invent glasses, but this was refuted by original writings of early Italian
missionaries, which confirmed that it was instead these religious orders
to introduce glasses working and, above all, glass lenses that gradually
At the top: arched tor toiseshell model with side cords, Italy, late
16th-ear ly 17th century.
34
From the bridge to the s ide arms. From Ugo di Provenza to Camil lo Benso, Count of Cavour
From the left: folding arched horn and brass eyeglasses, complete with case in car ved wood with Oriental scenes and symbols, China, 18th century; a valuable trefoil case in car ved ivory worked per day, France, 18th century.
35
replaced with those of rock crystal and quartz. An important contribution
to the habits and customs of the East in terms of glasses came to us in
the form of the “Mangwa,” or the delicate drawings by Japanese artist and
poet Hokusai (1760-1849), published in 15 volumes (some posthumously)
from 1814-1878 and produced in three colours: black, grey and pale pink,
a detailed “visual” history of those times and those latitudes. The dates
regarding the inventions of corrective lenses instead provide important
information about the uses and areas that influenced the need for the
creation of spectacles: presbyopic lenses are in fact from 1280, myopic
lenses from 1480 and bifocals in the 18th century. This latter invention has
been attributed to Benjamin Franklin (1706-1790), scientist and politician,
considered one of the founding fathers of the United States. In a portrait
from 1767 by Scottish painter David Martin (1737-1797), preserved in the
White House, he appears with a pair of metal eyeglasses with small rounded
circles, similar to those which Camillo Benso, the Count di Cavour, was
portrayed with in the 1800’s.
The o r ig ins o f eyewear
36
From the bridge to the s ide arms. From Ugo di Provenza to Camil lo Benso, Count of Cavour
From the top: trefoil box car ved in boxwood, Italy, 17th century; case-pack in pine wood, covered with a woodcut which holds the name of the optician, the emblem of the city of Nuremberg and the emblem of the guild of opticians, Germany, mid-18th century.
37
The o r ig ins o f eyewear
A unique Roman Breviar y which houses a pair of arched silver eyeglasses inside its cover, Venice, 1794.
38
Po in t s o f v i ew and suppor t
From the left: rare wig or silver cap eyeglasses with papier-mâché and red Morocco case, France, 18th century;temple tor toiseshell eyeglasses, called as such because the side arms stop on the temples with large ring terminals, England, 18th century.
39
The o r ig ins o f eyewear
Points of view and support
In the story “Candide ou l’Optimisme” (translation “Candide” in English) by
Voltaire (1694-1778) from 1759, Pangloss declares “... noses were made to
wear spectacles.” From the outset it was clear, however, that the nose itself
was not enough to support the weight of the materials in which the frames
were made, to which the enormous weight of the lenses was then added.
But when philosopher Pangloss pronounced this truism, the invention of
spectacle side arms had already been made, having passed first through
other extreme solutions such as ties, ribbons or cords to be fixed behind
the head or ears. Before coming to this final solution, an inexplicably long
time passed before the side arms appeared in the 18th century. These were
invented in 1727 by English optician Edward Scarlett, but were preceded
by hat or wig eyeglasses, whose novelty existed in their having a circle of
the same material eyeglasses (silver or iron) that, starting from the bridge,
encircled the head hiding under hats or hairpieces. Taking into account
the customs and fashions of those times that required the use of wigs,
the first side arms stopped at the temple on the temple spectacles, once
again giving space to various stylistic interpretations influenced also by the
materials. These were often precious gold and silver and given that, initially,
the use of eyeglasses was only reserved to the wealthy and educated
class and probably restricted only to men, they were a perfect mirror
of the society of the time which excluded women from many activities.
Obviously these solutions, in addition to not solving the balance problem,
also generated many headaches. And it was precisely from this search for
comfort that, soon after, the final definition of eyeglasses with extendible,
folding, and spiral tip side arms with terminals of various styles came to be.
Even the bridge underwent several transformations: K, C or X forms, while
rather small circles kept their almost oval or otherwise rounded shape.
There is no large structural difference between eyeglasses and sunglasses
except that, in some models, the lenses are double-hinged on the side
arms, creating a side protection, like with the Richardson type model with
circles in the shape of a horseshoe, while with the Goldoni-type eyeglasses
40
Po in t s o f v i ew and suppor t
41
The o r ig ins o f eyewear
in the mid-1700’s, the partitions were made of silk, the same material that
visors applied to other, original models. Incidentally, the first coloured
lenses appeared in Venice in the 15th century, but here we still cannot
speak of protective sunglasses. In fact, initially, the colour often indicated
the social level of the person wearing the eyeglasses. Even the eyeglass
cases provided specific information about their owners and sometimes
their geographical origins, thanks to the writing, inscriptions, initials,
names, dates, punches and even the small pictures carvings or engravings
that represented religious or allegorical figures.
Over time, the case shapes have adapted almost physiologically to that of
the spectacles themselves, chasing an ideal of beauty and practicality: from
trefoil cases for bow specs to minimal sized containers with rich decorations
for folding eyeglasses, from the cylindrical forms for flat eyeglasses, to
structured models like boxes with covers and latch lock cases.
In some cases, other objects acted as cases, like breviaries that housed
eyeglasses in a niche “hollowed out” among their pages. The “technical”
detail was another important element. This sometimes allowed the cases to
be hung or pinned on belts, bands or waistcoats, thus helping define the
styles and fashions of yesteryear. The materials they were made with were
not always obvious choices, either. These were sometimes very valuable:
ivory, tortoiseshell, hand-painted papier-mâché with decals, embroidered
silk, galuchat leather, quality wood and naturally precious metals, filigree
and precious stones. Some are real masterpieces created by artisans and
jewellers, so extraordinary that one can often forget their original function,
such as with the “à la châtelaine” or oriental models, rich in symbolic
elements. The passage of this production from artisanal to industrial took
place between the 1700’s and 1800’s when the first nearby eyeglass case
factories opened.
From the top of the previous page: another example of temple tor toiseshell eyeglasses,
with double terminals internally in leather to loosen side end pressure on temples, England,
approximately 1785; temple eyeglasses in silver with prominent terminals, Italy,
late 18th-ear ly 19th century; optical frames characterised by double circles in silver
and tor toiseshell with an X-shaped bridge, folding side arms and small diameter lenses
to reduce lateral aberrations according to prescriptions by English optician Benjamin
Mar tin, England, late 18th century.
On this page: frames in brass with decorated bridge and folding side arms, China,
approximately 1880.
42
Po in t s o f v i ew and suppor t
Clockwise from the top: model in horn, called “Goldoni”, par ticular ly in vogue in Venice in the 1700’s. Characterised by coloured lenses, dividing side arms and lateral protections in silk; papier-mâché case from the mid-19th century, made with the decal technique and then painted by hand; protective eyeglasses in tor toiseshell with lateral sun protection screens in silk and ar ticulated side arms, Italy, ear ly 19th centur y.
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The o r ig ins o f eyewear
44
Po in t s o f v i ew and suppor t
From the top: model from the 19th century with X-shaped bridge and very thin ar ticulated side arms; rectangular latch lock silver case decorated with delicate incisions, English, mid-19th century; silver eyeglasses with slightly coloured lenses, X-shaped bridge and extensible side arms, Italy, 19th century.
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