Frankenblogging Part 6: Medieval Wire Jewellry

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. Annotations are in this typeface.

I wrote this a long while ago. Please excuse the 10-year-old, grainy, low quality digital photography. 


On Wire Jewellry in the Medieval Period

Good books on the subject:

Welch, Martin Discovering Anglo-Saxon England isbn 0-271-00894-6

has some information on grave-finds, including color pictures of a double pin connected by a chain and spiraled-wire beads. 

Ogden, Jack Ancient Jewellry (from the _Interpreting the Past_ series) by ISBN0-520-08030-0

Slim book, lots of information and illustrations. Ancient wire-making techniques, chains, etc. 

Egan, Geoff and Pritchard, Frances Dress Accessories c1150 - c1450 Medieval Finds from Excavations in London: 3 isbn 0 11 290444 0

In-depth catalogue and study of artefacts from the Museum of London excavations of the London waterfront. Lots of clear photographs, some colour plates, many detail drawings of jewelry, belts, pins and other accesories. Extremely useful to the medieval costumer for all the finishing touches. 


I've copied several pieces from this book, in particular two copper wire annular brooches, shown on p 254,
fig 164, artefacts 1340 and 1341. Descriptions of these artefacts and two further similar pieces (one in gold, from York) are given on p 256. The chapter of Hair Accessories is of especial interest. I've made several
of the decorative u-pins (p295, fig 196), and recreated possible original states of both of the nearly-complete circlets/headdress frames, which are made of silk-covered wire.

There are also spiraled wire beads and of course chains from Anglo-Saxon england, rome, etc, as well as a sort of naalbinding technique used to make chains from viking times to the present (although modern examples
are mostly from the Middle East and North Africa).

This is another clear case of "I've got a BOOK! I'm an EXPERT NOW!!!" I'm sorry. But, that said, these things are both documentable and easy to make with cheap and widely available materials, which makes them kind of fun to have references for. Hence my geeky excitement.

Jewelry and personal items made after items in Dress Accessories

A grouping of homemade reproductions of medieval period items.

Author's note: I took these with a terrible, terrible old digital camera sometime in 1998 or 1999, and the picture quality is just AWFUL. My most heartfelt apologies for that fact. I plan a new post on some of these items with new photos, as I still have most of them.

A grouping of homemade reproductions of medieval period items, this time with a wooden jewelry casket bound in incised leather.

Author's note: This "wooden jewelry casket" is actually a fairly nicely redressed 1950's or 1960's small mass-produced jewelry box. It's lined on the inside with tooled brass sheet and printed cloth. I think it's still neat enough to get its own future post. 

A full-size (1") and a double-size (2") reconstruction of a small double-spiral ornamented ring brooch in Dress Accessories (p 254, fig 164, artefacts 1340 and 1341). There are actually numerous examples of this type of brooch, in base and precious metals.

My versions are all in copper.

A conjectural brooch made with a flattened coil wired to two concentric rings and decorated with flat spirals at the compass points. It is all copper.

A reconstruction of a simple but effective little (1") flattened
coil brooch described and illustrated in Dress Accessories. It has no foundation ring. Mine is copper with an iron pin.

A first attempt to create a period grooming set (earspoon, tweezers and toothpick) after examples shown in Dress  Accessories.

This attempt at reproducing one is made from hammered copper sheet, cut and shaped, with fine brass wire wrapped around to provide grips. it is perforated and strung on a small chain, which depends from a brooch.

Hair or veil pins made after examples shown in Dress Accessories (p295, fig 196). They show the characteristic doubled-spiral decoration. The originals were made in copper, brass, silver and gold (if I recall correctly).

These I made in two sizes, all in copper. I have since made more,
in brass.

A draft of a conjectural recreation of the fragmentary iron wire headgear with silk-wrapped spiral brass wire decoration shown in Dress Accessories. These pictures are larger than the others to attempt to show the detail of the piece.

Mine is made of heavy copper wire for the base, instead of iron, because it is easier for me to get my hands on. The spiral decoration is made of brass wire, wrapped with cotton embroidery floss, which was then formed into the double spiral motif. The base wire was wrapped with the same floss, and this was used to secure the ends of the wire into smoothly covered loops. Finally, the decoration was attached by wrapping on a further layer of floss. The ends were sewn down to secure them. It is held shut with a matching floss tie.

I have not attempted to attach a veil to this piece because I'm saving the good translucent silk for the final product.


It is not known if the original is in fact a circlet or if it is
some other kind of head ornament, such as a veil frame. The original was found to have fragments of a  transparent silk veil attached to the spiral decoration, and one end of was formed into a hook or opened loop. The other end was broken off.

This is a reconstruction of the silk-wrapped iron wire circlet with silk-wrapped square knot decoration in two colors shown in Dress Accessories. Mine is made of heavy copper wire for the base, instead of iron, because it is easier for me find.

The base wire was wrapped with yellow-dyed unspun silk, and this was used to secure the ends of the wire into smoothly covered loops.

The ornamental wires are copper, wrapped with blue and red dyed unspun silk. These were carefully knotted around the base wire so as to form decorative square knots at regular intervals (about 1 inch apart). Once these were attached, red silk was used to smoothly
cover the ends of the decorative wires near the loops. Finally, the circlet is held closed by a silky cord tied through the ends.

The two circlets, together, and another image of the two together, on edge to show details.

Frankenblogging Part 3: Miscellaneous notes on hand sewing and medieval sewing

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. 

More old stuff! Complete with only slightly repaired poor formatting and a less well-thought-out writing style. My newer notes are in this typeface. Enjoy!

Medieval sewing stitches
From _Textiles and Clothing_:

Running stitch (not recommended for bias seams or any seams that will take stress or wear as the fabric may shift and the thread may break or pull..)

Not really. Make them very small and regular and they are just fine. This was actually the most popularly used seam and hem stitch.

Backstitch (the most solid stitch and most suitable for modern fabrics, takes stress and wear well)

Used for heavy stress areas and embroidery.


Overstitched edges (good for selvedges or fulled edges)

This is also called butted edges.

Felling seams:
French seams are not described at all in _Textiles and Clothing_, but a flat seam finish is: The seam is opened flat and the seaming allowance is sewn flat with a running stitch (which is safe to use as it is not going to be stressed at all). For modern, unfulled fabrics, I would roll the raw edge under as I sewed the seaming allowance flat with the running stitch. Other methods, not found in Textiles and Clothing can be found
below.

Hemming stitches: 

There are three basic techniques shown in _Textiles and Clothing_:

1. Hem stitch is shown used on both a single and double folded hem. 
2. Top-stitching done in running stitch is shown on a single-folded hem hemmed with hem stitch. This would give a stronger hem, and reduce stretching on bias edges. 
3. Running stitch is shown used on single-folded hems.

Rolled hems are shown on fine fabrics such as silks and I suspect they may have been done on fine linen edges, although no examples have survived to prove or disprove this theory... Personally, I would use this edge on fine linen.

Sarcastic note about my own tone here: "I bought a BOOK! I'm an EXPERT!" Sigh. 

Facings and edge finishes: 

Necklines and open armhole edges were often faced with narrow silk bindings or facings on the straight grain. You could use inexpensive Habotai silk for these facings. They are sewn on with a fine running stitch. Lacing edges are finished with the same type of facing, with the lacing holes worked in buttonhole or whipstitch through the outer fabric, lining (if any) and facing strip. I'd use a doubled strip for my lacings, as I know how much stress I always put on them :) Buttonhole edges were finished with a narrow cardwoven band, about 4 cards wide, sewn on as it was woven ( the weft thread was the sewing thread). If you are going to the trouble
of handsewing anything that will have buttonhole edges, you should really do the cardwoven reinforcement. I'm working on a project right now that will have these edges on it. 

Some Handsewing Stitches


This is my own advice and therefore is less directive and "experty." However, that means that I felt that my little illustrations spoke for themselves. I think I need more explanation for these to be really practical. Or just more illustrations. 

And no, I can't really draw a needle. I'm better now, but not by much.

This diagram shows how to measure and knot the doubled thread.
Measure wrist to shoulder, cut your thread.

Thread your needle, then knot the two ends as shown.


Anchoring the knot in your cloth.

Running stitch

A good basting stitch, and a good hem stitch for lightweight fabrics.

Not very sturdy for seams. Unless small and close! Take small, neat stitches forward on both the front and back of your work. Can also be used for gathering up fabric.

Backstitch.

A sturdy seam stitch. Take long stitches forward on the back of the work (2x your desired stitch length), then stitch one stitch backward on the front of your work.


Chainstitch

Decorative and useful as a seam stitch. On the front of the work, punch the needle through near to the point where it emerged, making a loop. On the back of the work, bring the needle forward one stitch length and back up through the fabric to catch the loop.

Whipstitch

A hemming stitch, also useful for finishing seams and sewing down trims. Worked like running stitch, except that it it 'zigs' on the front and 'zags' on the back of the work. The second diagram shows how to trim one side down to ease rolling the seam allowance under for finishing.

whipped hem

Crossed whipstitch

Whipstitch worked double for durability. The second row is worked across the first, forming x's.

Oversewn or whipped edges

Use to join selvedges for a flat smooth finish. Take small, neat whipstitches all along the doubled edges. When finished, open flat and press.

Finishing a gathered edge

A gathered edge can be neatly bound by carefully whipping a binding onto it, being careful to catch the binding on both sides as you work.

Ladder stitch

Makes a strong, decorative join on two hemmed pieces of fabric. Stitches are worked in a figure-eight pattern (second diagram), going in one peice and coming out of the gap, then going in the other.

side view 

Frankenblogging Part 2: On facings in Medieval costume

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. 


 I wrote this a decade or so ago, originally for a post to a discussion list, later re-written for my old website. This is installment 2 of the bits and bobs coming over here from over there. 

On facings

First, for clarity and beacuse the two are often confused:

• Interfacing: A supplemetary layer of fabric, normally placed between the fashion fabric and the lining, or between the fashion fabric and the facing. It is intended to help stiffen or strengthen the fashion garment. In fully lined garments (such as jackets), all stress points may be interfaced, sometimes severaly layers deep, to help the garment keep its designed shape. 
• Facing: A shaped piece of fabric intended to finish a garment edge, often cut as an abbreviated version of the garment piece it matches. This is seamed along the garment edge, turned and either finished and left loose inside, or sometimes sewn down either inside or outside, depending on the design of the garment. 

In modern clothing the facing is often only attached at the garment edge (collar, cuff, placket, hem, etc) and is left to hang loose inside the garment. These loose facings are often interfaced to keep them from crumpling, flopping, or slipping out of the garment edge. Which they always do anyway. Personally, I hate these and I sew them down invisibly inside my garments.

In some eras of period costume, facings are used as a decorative motif, and are often embroidered. They serve a dual purpose, in that they are both a finishing technique (practical) and a form of ornament (decorative).  Where facings are used as a decoration, additional fabric bands may also be applied to continue the ornamental theme across the garment. I do 12thc, and therfore I make use of this decorative technique, and I find that I almost never have to interface my applied facings, *unless* it is a fine or unstable fabric.

On fastening keyhole necklines

I have often been asked how one should fasten a keyhole neckline. The simple, documentably period answer? A brooch.

Author's note: Small brooches are also really useful on regular clothing as well as medieval period clothing. They are also a really nice fashion detail. Every time I've worn a period-costume jewellry item with my everyday clothes, I've been complimented on it.


Medium-sized annular (unbroken ring) brooches with a hook catch on the back to anchor the pin seem to work well, as well as simpler ring- or disc-brooches. It takes a bit of practice to use a pen-annular (broken
ring) brooch to close the corners of a keyhole neckline, but it can be done.

You only need to close up a keyhole neckline if it's cold enough to, or if decency calls for it. If the corners of the neckline like to fly open and you don't want adventurous people looking down the inside of your tunic, pin them together. If you don't want to have to pin them, apply a trim or decorative facing that is fairly stiff.

This type of neck-finish was fashionable in various areas for hundreds of years. Generally speaking, the period way will turn out to be the most practical way, IME. If you are curious about exactly what is right for your persona, look at illuminations and period art for help. 

Small Home Improvements

Well, really, a tiny kitchen makeover, or a makeover of the beloved and indispensable play kitchen that lives in our dining room. My boys love this thing, and are horribly rough on it and love banging the doors open and closed, pretending to wash pots and dishes, and otherwise reenacting the organized chaos of Ratatouille with their own variations.

I did most of the shopping for parts for this version of the play kitchen at Ikea, mostly in the as-is dept.

This is a view of our new sink and countertop, which was made from rejected shiny blue kitchen drawer fronts, at 50 cents a pop. The sink is by far the most expensive single part. Its "faucet" is made of the most basic pull handle, anchored at one end, plus two of the very basic knobs. The rest of the wood (the shelf up top, and the stovetop, fridge door and oven door) were more unfinished drawer and cabinet bits from the as-is dept.



Another pull handle makes a handy towel bar, and we used them on the oven and fridge as well. Here you can see the drawer knobs being put to their intended use, albeit an abbreviated version. The drawers are made from stout cardboard boxes mounted inside a frame made from the old cardboard play fridge. This time the cardboard looks good, and is really sturdily reinforced with heavy paperboard shipping corners from a large appliance, so it should last a while. Also, those drawers are really functional. One even holds our current crop of play food cards. The fridge has simple shelves of wood strip that hold up removable baskets.



This is the little stove and oven. The oven is held up with a loop of heavy twill tape and closes with magnets and little steel plates. Any gapping caused by wee fingers means it won't close at all. The burners on the stove are made of the metal plates and rings from the ends of nut cans (or coffee cans if you shop at Trader Joe's), and those stove knobs ought to look familiar. More Ikea. A huge bonus to the peanut-can rings/plates? They are precisely the right size for the Duktig pots and pans, and they have a lip that makes the pans stay in place when little hands are stirring "soup."



For comparison, above is the new kitchen in all its wooden glory, and below is the old "reuse, recycle, rebuild it often as the kids destroy it" version.

Now in the new version, you may notice some zipties. The hutch is actually made from another short piece of the same (non-ikea) modular, peg-together shelving that I have had for 15 years. I ziptied them securely together. It's still much better than the previous hutch of glued together cardboard boxes.

As for the temporary methods of securing the various parts, we'll be moving again, so it's better to keep it easily broken down. Much of the rest of the construction is anchored with hot glue, though there are plenty of screws where there will be stress. The sink, for example, is held in with a bead of hot glue, and hot glue is what keeps the countertop and stovetop from shifting during play. Still temporary, then, but the parts can handle more wear and tear.



Don't get me wrong, its various incarnations rocked for a time, and it was fun to redo periodically, but was always kind of an ugly kludge and was perpetually on its last legs. Of course, a big factor in making the change, from the cardboard play kitchen on a wood frame to a repurposed wood and cardboard on a wood frame version was the fact that I am finding myself short of time for a constantly repeating weekend project. It was time to strip it back to the frame and start fresh, and make it more permanent, yet still easily broken down for moving.


Also, I have just realized that, again, I've done something in red and blue and neutrals. This is my living room. Notice a pattern?



I guess I like red and blue. I blame my early exposure to modernist style via inundation with (now) vintage Creative Playthings toys.