Her presentation in an adorned engraved print fig. This paper sets the Subligny print in its cultural contexts, and rejects the notion that decorated engravings such as this one, disseminated contemporary fashions. Museum no. Jean Mariette , printer, published the Subligny print in the late 17th or early 18th century.
It was enhanced by the careful cutting out of sections of the dress and placing of silks behind the print to fill the gaps. Additional hand colouring was applied, further panels were cut out and textiles were placed behind and on top of the print, while a sheet of paper was attached behind.
Ribbons were also placed into slits in the print. Silks were layered to create texture. Silver and white bobbin lace was attached around the sleeves and at the edges of the dress. Combined with the difficulties inherent in dating silks conclusively, only a broad date range of to can be suggested as a date for this object. The unembellished version of the print shows Subligny stood in front of an open window near a pilaster.
The walls of the room are decorated with scrolls. She stands in a dancing pose with arms outstretched and the tip of her foot visible. Her left sleeve hangs down showing its contrasting lining, while her right sleeve hangs behind her arm. Her gown is encrusted with jewels and decorated with leaf scrolls. In the undecorated print, her dress is covered with jewels and is decorated with leaf scrolls and flower shapes, which could have been embroidered or woven. The silks used to decorate the print in figure 1 both feature the same pattern, but it is more delicate than that shown on the original dress.
Likewise, the ribbons on the bodice and sleeves of the decorated print are additions that did not feature in the original print. The Subligny print could have been sold and modified in England or France. In the late 17th century, French prints and books were frequently imported into England. Adorned prints are comparatively unusual.
