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 5: 13th century Spanish male court dress

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 content, but this time, it is my notes and illustrations on trying to make heads or tails of some men's clothing in a Spanish museum catalog. The drawings are my drawings made to accompany my notes. I think this was originally written to share my notes with someone working on a reproduction and no access to this one, and at the time, best source.

A suit of Spanish Royal Clothes

These are my observations on a suit of clothes belonging to Fernando de la Cerda and dating to the 13th century.


Note: They are held in the textile collections of the Burgos Museum. The first link has a photo of the Saya sketched below.

Pellote (man's overgown): 

A detail of the fabric and a photo of the item in question before conservation (very sad! only shreds, really) are shown in the catalog, and it does not look as though the fabric is much stiffer than your average brocaded silk, though it may have been lined with something stiffer, perhaps linen, to give it body. There is extensive information with the photos, but I do not read Spanish very well and I can't tell yet if there was any lining, or evidence of a lining, found during the conservation process. I would make a test version out of a stiffish taffeta rather than cotton.

Was there some kind of stiffening to help the pellote hang correctly? The pellotes shown in surviving illuminations hang as if they have support, so I'm supposing there must have been something. This example may have had a two-layer linen facing at the hip, and a linen lining in the body to prevent stretching, but not being able to decipher the description of the pellote, I have no idea if they mention anything. The main thing
I know about grave finds is that any linen (or other vegetable fiber) that might have been there as underclothes or supporting linings tends to vanish. Silks and wools survive, but linen dissolves everywhere except Egypt, glaciers and bogs. 

Saya (man's undertunic):

The sleeve cut is unusual (to me, don't you love my generalizations?). It isn't shaped in any way other than being slightly tapered from shoulder to wrist. The seam is along the back of the arm, presumably so that the seam could be either decorative (as shown in the illuminations) or so that the heraldic brocade of the fabric on this particular item was not obviously broken at the seam when worn. It appears that the sleeve was sewn up first, then slit under the arm and sewn over the shoulder portion of the tunic body.

The rest of the tunic is constructed according to the usual method, except for a gap left on the left side that is laced shut, presumably for a good fit.

Manto (cloak or mantle):

A cloak (manto) made of the same elaborate heraldic brocaded silk, also belonging to Fernando de la Cerda. A discussion of the placement of the ties is (need to link to previous day's post).

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. 

Frankenblogging Part 1: Some thoughts on the gown in The Accolade

Author's note: Welcome to Frankenblogging! This is a feature in which I comment on my own older web-published advice and reference, as a way to make myself feel better about subjecting folks to new posts of it while I am porting it over here.


I wrote this piece a decade or more ago, originally for a post to a discussion list, later re-written for my old website.  While it is an older opinion, most of what it has in it is still both valid and consistent with my current opinions on the subject of medieval costume in Victorian artworks.

Some thoughts on the gown in The Accolade

I get asked about this every once in awhile, since it's such an attractive painting, and the gown shown is so lovely to the modern eye. Unfortunately, it's also a Victorian fantasy of what a generalized 'medieval' gown would look like. While it would make a nice 19th century theatre costume, fancy dress outfit, or even a modern wedding gown, it isn't really a medieval gown at all. I'm going to go over its various features and analyze them for the reader, based on my background in studying and recreating medieval, rennaisance and Victorian dress.

Image from Wikimedia Commons

What I see in this gown:
It looks to me as though the artist spent a bit of time looking at a couple of costume texts of the day in an effort to get the right feel. However, some of the details are a bit off for the probable intended period, while, at the same time, being right on target for later periods.

12th century elements:
It seems, at first glance, to be a sort of 'Victorianized' bliaut, which probably doesn't help much, if you are at all familiar with the contorversy about how these garments might have been made. Things that make me think it's a bliaut (or just generally intended to be a noble lady in 12th C. dress, which would fit nicely with the knighting motif, and the dress of the rest of the figures):

• The 'V' neck on the overdress
• The tight and wrinkly undersleeves
• The neck of the undergown closed with a brooch
• The bicep trimmings
• The wide sleeves of the overdress,
• The location of the belt.

'Victorianized' theatrical costume book elements:

• The puffy sleeve cap on the overdress sleeves (regency/Victorian)
• The plaque belt (which *is* medeival/rennaisance, but doesn't
  appear until about 100-200 years later than the intended period
  in its earliest form)
• The fact that the belt has no upper loop around the torso
• The overgown and undergown being of the same colors (although
  this is probably both a painterly and a theatrical convention)
• That the torso's silhouette is that of a gently corseted woman
  of about 1880-1900 (which would make sense if he had a model pose
  in a theatre costume to get the light and shadow right - she would
  have worn her stays underneath it).
  

If you compare this to the Chartres statues, you'll see what I mean about the details: (Note: links are dead, I have to replace them - search for "Chartres West Portal" for good images) There are manuscript illustrations as well, but I have no links for those.

I like The Accolade. Really. It's a charming, romantic work, and was the stuff of my knights and princesses fantasies as a child. Plus, the dress is like every little girl's fantasy Medieval queen dress up outfit. It makes a fantastic wedding gown, and a number of custom wedding gown makers have a version in their catalogs. That said, it's a Really Really Bad Historical Reference, don't use it as one.


Also, I've been asked DOZENS of times about how to make this "bliaut" for historical reenactment wear. At the time I wrote this, I had been asked about seven times, and I was already getting kind of burnt out. I think I made up a form letter, actually, then thought better of it and put this on my site and just redirected folks to it.

Some other thoughts on Victorian ideas about Norman dress
Don't blame the painter too much for the dress being wrong, although the subject matter is romantic fantasy. The whole 19th century concept of how Norman court dress was made and worn was very wrongheaded. Much of this had to do with the idea that it had to be constructed in some manner similar to that of formal dress of the time (restrictive, separate bodice, either over or under the gown). Additionally, art and costume historians of the 1800's had little or no archaeological evidence to work from, and this, combined with the lack of clear photographs (most worked from others' redrawings of period artworks) contributed to their ideas about how things must have been made. Unfortunately for the beginning costumer interested in Norman court dress, most costuming books easily available today still use these ideas.

I think the current transmission of these ideas mostly comes through Braun & Schneider and Norris, but originally came from Voillet-Le-Duc (who WASN'T a tailor, and boy did it show - I'm not of the opinion that he was much of an artist, either) when he sketched the statues badly 200 years ago. Montfaucon's (earlier) sketches were much better but are less well known. Interestingly, Strutt wasn't as influenced by Voillet-Le-Duc's ideas, possibly because they were near-contemporaries. Strutt, however is more useful for later eras and leaves much out in his redrawings of clothing of the 12th century, though he does seem to have done them from direct observation of illuminated manuscripts.

This bit is more of an analysis of the whole 19th century take on Medieval dress in general. Still pretty opinionated.