Zibellino

Flea traps are - especially in earlier times normal - utensils to catch fleas and render them harmless. Flea furs are said to have a similar use.

History

A flea trap was a small enclosure with openings, which was mostly worn in the Baroque period of the nobles on the body in order to catch fleas and other vermin.

The Renaissance of the distinguished ladies worn as a fashion accessory Zibellini, small skins with elaborate head, tail and paws and decorated with precious stones, may have been later than " flea furs " similarly interpreted.

Background

Flea traps were in the era in which high levels rarely washed himself from head to foot or bathing (washing was considered harmful, see bathing culture ), used in upscale circles right. The bugs spread quickly, especially after the decline of the bathhouses in all walks of; a connection with the hygiene was not seen at that time.

The flea traps were made ​​of ivory, had an eyelet for hanging and were a few centimeters long; the shape was different. In China, they were known for a long time, the bamboo or ivory tube was warmed and placed before bedtime in bed. Of lured the bugs crawled into, etc. to then be disposed of in a bucket of boiling water. Until the end of the nineteenth century were more elaborate methods in application. The containers could be screwed, so that a small cloth could be put into it, which was soaked with honey, blood, resin, and also with different fragrances to attract the fleas. These went into the trap, they remained stuck there. These containers were hung under the clothes and also under the then customary wigs or hair pieces or worn around the neck in the neck.

Flea furs

The so-called flea fur or Flohpelzchen, from Italian also Zibellino (sable ), which came into fashion in the late Middle Ages and particularly during the Renaissance, a similar effect is said. In particular, the nobility often wore animal-shaped elaborate furs ermine fur, mink, polecat fur or marten fur.

Since the fleas on body heat and not on hair react is some evidence that the predominantly carried in the hand wearing fur, the effect was only awarded as a flea trap later. 1467 are mentioned in the inventory of Charles the Bold of Burgundy flea furs.

The finest specimens were collected from whole skins in animal shape over clothing, often provided with additional ornaments. A painting by Parmigianino shows an Italian noblewoman in 1540 with a Zibellino over the shoulder; overall there are about thirty known figures, of which not one man with flea fur. The fashion of the so-called " Pelzkolliers " with worked heads and untreated paws and tails on the coat was without the ulterior motive of the flea -catcher in the nineteenth century very widespread and has since been taken up again and again. Until the 1960s, was for einfellige necklaces yet the term strangler in use.

Another interpretation is an association of the use of flea furs with Greek mythology. This was assigned as the illegitimate son of Zeus Iconographically the difficult birth of Hercules. The maid of Alcmene, Galanthis had shortened with a lie against the will of Hera the contractions of the mother of the hero. It was therefore transformed by Eileithyia in a weasel and doomed to give birth to their children out of the mouth and to receive in the ear. The representations of women with flea skins are therefore often associated with the birth of a child of high rank and not dispense with a certain coquetry with female power and independence.

Sources and Literature

• Ingrid Loschek: Accessories. Symbolism and history. Bruckmann, Munich 1993, ISBN 3-7654-2629-6.
• Günther Schiedlausky: How to catch fleas. In: Arts and Antiques. No. 4, 1987, ISSN 0341-4159, pp. 26-38.