The ruff Vase
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A Jarra de Rufos
"The ruff Vase" is an earthenware piece, manually glazed. It is decorated with a burel collar (100% pure wool made by mountain shepherds from the heart of Portugal) handmade by a skilled Portuguese artisan. It is inspired by the Elizabethan ruffle from the XVI century. The burel collar should be dry cleaning. These handmaded pieces may vary slightly.
Of Baroque and madness, there is some in all of us. So could say, in its starched silence, the ruff collar. A collar so crimped and austere, which, in the past, was required to host the crumbs and debris from aristocratic banquets. Bits of chicken, drops of honey… The ruff was soiled so the dress would not. It is not surprising therefore, that a collar treated as a bib would be thirsty for revolt and revenge. It stiffened its ruffles so, in the fight for a fair status, that it quickly became tempted by the madness of ambition: it went from bib to straitjacket, able to keep stiffly upright the posture of whoever covered their throats with it. This is how the ruff settled itself, imperative, around noble necks, necks averse to wide movements and arduous tasks. It is not easy to imagine how a Vasco de Gama or a Pedro Álvares Cabral went on to open horizons so widely while wearing such constraining collars. One struggles to imagine how Camões or Cervantes would have used it, how could such a collar be suitable for them, always hiding from their eyes the papers on which they immortalized poems and stories. How many times must they have had to wash their ruffs covered in ink stains…
From above the folds, eyes of powerful people gazed out also, some more mad, some more baroque: Dom Sebastião, the Desired, of whom the ruff is still to be seen, even if just a fold of it dispelling the mist; Catherine de Medici, who gave away everything, and lost everything, except her ruff; Elizabeth I of England, who had the ruff lifted at the back, leaving the neck exposed. This is, by the way, the geography of the ruff: the neck, link between head and heart. To cover it is to protect it, from the weather and from coveting, for example. It can also be just a way to decorate it, to make it fashionable, to remind it of the codes distinguishing it. So be the collar baroque then, around the throats of giants and heroes, but be it not overly mad, mad to the point of suffocating necks, separating them from the bodies to which they belong, leaving only the head with no heart to cling to.
"The ruff Vase" is an earthenware piece, manually glazed. It is decorated with a burel collar (100% pure wool made by mountain shepherds from the heart of Portugal) handmade by a skilled Portuguese artisan. It is inspired by the Elizabethan ruffle from the XVI century. The burel collar should be dry cleaning. These handmaded pieces may vary slightly.
Of Baroque and madness, there is some in all of us. So could say, in its starched silence, the ruff collar. A collar so crimped and austere, which, in the past, was required to host the crumbs and debris from aristocratic banquets. Bits of chicken, drops of honey… The ruff was soiled so the dress would not. It is not surprising therefore, that a collar treated as a bib would be thirsty for revolt and revenge. It stiffened its ruffles so, in the fight for a fair status, that it quickly became tempted by the madness of ambition: it went from bib to straitjacket, able to keep stiffly upright the posture of whoever covered their throats with it. This is how the ruff settled itself, imperative, around noble necks, necks averse to wide movements and arduous tasks. It is not easy to imagine how a Vasco de Gama or a Pedro Álvares Cabral went on to open horizons so widely while wearing such constraining collars. One struggles to imagine how Camões or Cervantes would have used it, how could such a collar be suitable for them, always hiding from their eyes the papers on which they immortalized poems and stories. How many times must they have had to wash their ruffs covered in ink stains…
From above the folds, eyes of powerful people gazed out also, some more mad, some more baroque: Dom Sebastião, the Desired, of whom the ruff is still to be seen, even if just a fold of it dispelling the mist; Catherine de Medici, who gave away everything, and lost everything, except her ruff; Elizabeth I of England, who had the ruff lifted at the back, leaving the neck exposed. This is, by the way, the geography of the ruff: the neck, link between head and heart. To cover it is to protect it, from the weather and from coveting, for example. It can also be just a way to decorate it, to make it fashionable, to remind it of the codes distinguishing it. So be the collar baroque then, around the throats of giants and heroes, but be it not overly mad, mad to the point of suffocating necks, separating them from the bodies to which they belong, leaving only the head with no heart to cling to.
