Was it a woman warrior?

Sep. 20th, 2017 08:50 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

You might have read about that Viking warrior found in a grave in Birka, Sweden, who was a woman according to DNA tests. The original article, published in the American Journal of Physical Anthropology, is open-access, so you can go read the real deal for yourself. It’s titled “A female Viking warrior confirmed by genomics” – a rather spectacular title.

There are always issues with gender stuff and archaeology. One of them is the fact that yes, for a long time, if someone was buried with a spindle and beads, it was obviously a woman, and if someone had weapons, it was obviously a man. While this is probably the truth in most graves, in some cases, later anthropological study has shown that there is the occasional exception to this archaeologist’s “rule”, and has led both archaeologists and anthropologists to the firm conviction that it would be a good thing to take in-depth anthropological data for every skeleton found, and if possible, maybe even DNA checks, instead of just assuming things. That’s a pipe dream, though, with the scarcity of both funding and personnel in these disciplines, so we’ll have to keep on going as best as possible and be delighted about the occasional opportunity to go deeper.

So, what about the Viking warrior woman? I’m not completely convinced that the person buried in this grave was “a powerful military leader”. For that, I’d personally expect definite traces of hard military labour, and possibly also evidence for some healed wounds from battle. We may have an unusual woman there, and possibly also one who fought – but it might also be a woman buried with weapons out of some honorary reason. We actually don’t know. History on a whole, after all, was not cut-and-dried at all, but just as colourful and as varied and capricious as human beings are.

And as usual when there’s an interesting find, there is discussion, by people who offer very interesting thoughts. One of them is Martin Rundkvist who writes in Aardvarcheology. There’s also a critical response to the original article written by Judith Jesch, which you can read on her blog.

It remains… interesting.

 

 

U

Sep. 20th, 2017 06:07 am
[syndicated profile] opusanglicanum_feed

Posted by opusanglicanum

I couldn’t think of anything. So U is for unknown

It was going to be “Um, I can’t think of anything for U” but then Gareth insisted on unknown with a Luttrell weirdo, so here he is.

I did the faces bayeux style/not properly finished, because at this point I was worried about making the submission deadline for the competition.


:: katt, hund och ko ::

Sep. 19th, 2017 08:01 pm
[syndicated profile] mednalochtrad_feed
broderad sypåse

En broderad present i form av en sypåse till mamma som nyligen fyllt år. För det är alltid roligare att packa sina sy- och stickgrejer i en rolig påse. Och påsar och förvaring kan man (nästan) aldrig få för många av även om man är vuxen och redan har allt.

broderad sypåse

Två broderier våtspändes samtidigt. Det högra broderiet ska bli en mössa så småningom.

stämplar och tyg

När mamma hälsade på för ett tag sedan så gjorde vi tygtryck med mina hemmagjorda stämplar. Hon tyckte att det var jätteroligt så jag bestämde mig för att göra några stämplar till henne. Stämplarna klipper och skärs ut i ett material som kallas softcut, som säljs i de flesta välsorterade hobby- och konstnärsbutiker. Billigt och drygt när man gör så små stämplar som jag. Sen sågar jag till en regel och limmar fast dem med superlim eller trälim.
 stämplar

Det är superskoj att trycka tyg och svårt att sluta i tid medan mönstret är lagom mycket färg och form, less is more liksom. Den här gången lyckades jag hejda mig själv i tid.

fodertyg med eget tryck

broderad sypåse

Gamla dragkedjor är så mycket snyggare än nya. Därför köper jag då och då på mig dragkedjor på loppis så att jag har ett lager hemma att välja bland. 

broderad sypåsebroderad sypåse

Nu ska ni få veta något jättesorgligt. Motivet på broderiet kommer från mammas liv. Kon - de bor granne med en kohage så korna är en del av vardag. Den lilla gröna figuren till höger på kon är deras nya lilla hund, en virvelvind som är en frisk fläkt och charmtroll. Till vänster på kons rygg står deras gamla katt som med åldern kom att se ut som en gammal samuraj. Det sorgliga är att samma dag som presenten postades blev föräldrarna tvungna att ta bort katten eftersom han blivit allvarligt sjuk på sistone, något som jag inte alls kände till när jag broderade. Nu är han i katthimlen och mamma fick honom förevigad på ett broderi.

broderad sypåse

Stuff out of the Net.

Sep. 19th, 2017 07:37 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

And here you go again, with an assortment of links in various flavours!

Maybe you have seen the claims that the Voynich manuscript has been deciphered – this has been debunked right away. Bonus article about how it’s not been solved.

BBC Travel has a post about the last woman who works with byssus (the silk-like fibre harvested from the mollusc pinna nobilis).

In case you ever wondered where you’d end up if you could tunnel straight through the planet (who hasn’t?), here is Antipodes Man and his map to finally solve this for you. (Spoiler alert: Chances are high you’d be swimming. Better pack those swimming clothes, and probably even better: a boat.)

If you’re in the UK, UK Handknitting has a workshop list for all kinds of courses and workshops around knitting and crocheting… just in case you are looking for one (or maybe want to offer one).

And that’s it for today. I hope you found something of interest!

T

Sep. 19th, 2017 05:03 am
[syndicated profile] opusanglicanum_feed

Posted by opusanglicanum

is for tremulous.

I actaully started planning this project shortly after the initial workshop (by planning I mean that I scrawled a few notes on a bit of manky cardboard – but for me that’s an impressive amount of prep) but I was really struggling with T. Then at the last Ashmolean class Chris suggested the tremulous hand of worcester.(That’s a famously wobbly scribe)

Which was a truly brilliant suggestion, with one snag.

I can’t spell Worcester without the aid of spellcheck, and we all know about my propensity for scribal errors, don’t we?

So Instead I bring you the tremulous hand with Worcestershire sauce.

close enough?


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Posted by havardkongsrud

Kornbøre ukjent, Damgaard

En representant for byrene, vår største kistetype. Den er forholdsvis stedfast og egner seg dermed godt for årringsdatering. Den avbilde kisten er et aldri så lite mysterium. Trolig er det Peter Ankers kiste nr 7, avbildet i 1927 hos kunsthandler Damgaard i Trondheim. Ifølge Anker ble den innkjøpt av Oldsaksamlingen, men jeg har ikke funnet den der, og den er ikke undersøkt av Thun & Svarva. Skal vi gjette at den er sanert vekk fra KHMs samlinger etter at Anker ga den sin, sannsynligvis misvisende, etterreformatoriske datering? Legg merke til at furuplankene, i likhet med på de øvrige kistene, har hele stokkens bredde. Bunnen er sekundær og vi ser hull etter skråstilte nagler for opprinnelig bunnfeste. Foto: Schrøder, Sverresborg Trøndelag folkemuseum.

I 2016 utga Terje Thun & Helene Svarva årringsmålinger av trønderske kornbyrer, svære furukister brukt til å lagre korn, med et geografisk tyngdepunkt i Oppdal. Tilskyndet av noen startproblemet hadde teamet jaktet ned ikke mindre enn 19 slike stolpekister. De sammenliknet ikke selv med tidligere studier, men det viser seg at analysene deres kaster om på noen eldre kunsthistoriske dateringer, og det er disse vi skal kikke litt nærmere på her.

Kornbyrene skiller seg fra de såkalte ark-kistene med sine v-formede dype slisser, gavl- og langsider ført inn uten tapping (unntatt Bjuråker- og Låe-arkene, som i stedet er plugget fast i slissen) og takformet lokk med bratt skråning og med brede gavlbrett som svinges på tapper i bakstolpene. En annen nord-europeisk kistetype, Sittenkistene, er med sine flate lokk og brede hjørnestolper med avlangt tverrsnitt nærmere beslektet med ark-kistene enn med trønderbyrene. De er forløpere for de gotiske kister med brede hjørnestolper og flatt lokk, som Ullensakerkista, i følge Peter Anker trolig produsert i Tyskland ca 1300.

Den første samlende framstillingen av de norske kornbyrene kom så sent som i 1960, utført av daværende konservator ved Folkemuseets avdeling for bygdekultur, den senere så berømte kunsthistorikeren Peter Anker (1927—2012). Han fant ni stykker av dem, kjennetegnet ved sine nærmest kvadratiske hjørnestolper som stakk opp over lokket, med gjennomgående tapping i begge retninger og grunne slisser. Anker nevnte også to kister fra Lom og Valdres som har et visst slektskap med hans gruppe, men med et stort forsenket felt på forsiden og mer avlangt tverrsnitt på hjørnestolpene som ark-kistene.

Anker satte kistene opp i en typologisk basert kronologi med utgangspunkt i den vakre Nyhuskista, Ankers nr 3. Deretter nr 2 med sine enkle, men presist utførte detaljer, på kiste nr 1,4 og 5 «er buerekkens opprinnelige form fullstendig skjematisert, to av disse kistene har også en senere profiltype, flatrenna.» Endelig er arkademotivet forvansket til tre forsenkede sirkler på kiste nr 6, Dørdalskista, hvis profilering virker rikere, men noe ubestemmelig og kan minne om en karnissprofil. I kiste 7 svinner det skjematiserte arkademotivet hen i to buer uten pilaster imellom. Han så allikevel skråstilte nagler for bunnbordene som et alderdommelig trekk. Anker understrekte at en nøyaktig tidfesting var vanskelig, og med «fasiten» i handa, må vi sannelig gi ham rett.

De enkelte kistene

Sju av Ankers ni kister er å finne blant Thun & Svarvas trønderske nydateringer. Seks av disse var stilmessig nært beslektet med hverandre, utsmykket som de var med blindarker på forsiden og forsenkede buefelt på sidene, mens èn hadde annen dekor.

Nyhuskista

Kornbyre

Nyhuskista, Ankers nr 3, , NF.1931-0135. Hos Folkemuseet er kista registrert på Orkdal, fra Horg (nå Melhus) angivelig opprinnelig fra en forsvunnet kirke i Meldal. Kistas mål er 194,5 x 64,5 x 108,5 cm, etter at den på et tidspunkt har fått halvert dybden.

I NF protokoll heter det om kista: «Skal være kommet fra en kirke som stod i Meldal for 100 år siden på Nyplassen oppe i skogen på samme side som dr. Størens eiendom ligger.» Anker mente det dreide seg om Grutsæter kirke under Løkken gruver, sannsynligvis bygd i andre halvdel av 1600-tallet, innviet 1699, nedlagt 1806 og solgt med inventar på auksjon.

Den har fire blindarker som er den håndverksmessig fineste utførelsen. Sammenføyninger og detaljer er langt mer presise og materialene smekrere enn på de øvrige kistene. Buene følger passerslaget og med presise kapiteler. Til tross for kvaliteten viste allerede det romanske ornamentet på Nyhuskista (nr 3) en «betraktelig retardering» slik at Anker følte seg kallet til å hensette den til 1200-tallet. Allikevel satte han den altså først i sin typologiske rekke. Thun & Svarva daterte den til ca 1300.

Nordgårdskista

Kornbyre 2

Nordgårdskista, Meldal. Ankers nr 2.  189 x 121 x 118,5 cm.

Denne kista plasserte Anker noe senere enn nr 3, til litt før eller litt etter 1400. Den er dendrokronologisk datert til andre halvdel av 1200-tallet.

Løkkekista

Kornbyre Løkke

Løkkekista fra Rennebu, NF.1927-0174 (Anker nr 1 og Thun & Svarva nr 16)er på 154 x 89 x 77 cm. Foto: Norsk Folkemuseum.

Løkkekista  fra Rennebu står nå på Folkemuseet. Den har tre fri-tegnede romanske arker med base men uten overgang mellom pilaster og bue. «For de øvrig kistenes vedkommende må vi derimot kunne tale om sen middelalder, flatrenneprofilen på kiste nr 1 taler direkte for dette, og de øvrige kister ligger i hovedform tett opptil denne, selv om de fremdeles har hulkilprofilen med hakk.»

Yngste årring er fra 1197, og ettersom yteved mangler, kan virket være fra så sent som 1277. Mest sannsynlig hører den til første halvdel av 1200-tallet.

Meldalkista

Kornbyre Meldal, ukjent

En av de to kornbyrene er av Anker benevnt som Meldalskista. Ankers nr 4, Thun & Svarvas nr 6 eller 7, FTT 36496 eller FTT 36497, 148,5 x 95 x 94 cm, på Folkemuseet i Trondheim. Foto: Peter Anker, Folkemuseet.

Meldalkista, Antakelig fra Meldal, har nærmest identisk ornament med Løkkekista. Denne og nr 5 har Løkkekistas «klosset skårne, forenklede blindarkade hvor bue og pilastre går i ett med skrånende sider og rund base, og grovt skåret følgeprofil.» Her består profilen av hulrenne med fure på hver side.  «På kortsiden er det med samme profiljern trukket to diagonale linjer i kryss.

Anker omtaler begge med nærmest identisk ornament med Løkkekista.  Den ene benevner han Meldalkista og den andre er ikke stedfestet.

De to er dendrokronologisk datert til henholdsvis første og siste halvdel av 1200-tallet,et påfallende dateringsspenn for to så like kister.

Kiste av ukjent opphav

Kornbyre, ukjent

Den andre av kornbyrene av ukjent opphav. Ankers nr 5, Thun & Svarvas nr 6 eller 7, FTT 36496 eller FTT 36497, 148,5 x 95 x 94 cm, på Folkemuseet i Trondheim. Foto: Peter Anker, Folkemuseet.

Kiste fra ukjent sted, Nærmest identisk ornament med Meldal- og Løkkekistene. Denne er altså i likhet med den foregående enten fra første eller siste halvdel av 1200-tallet. FTT 36497 har siste målte årring fra 1239, men ytterste ring fra 1258.  Interessant nok fordeler altså disse tre nærmest identiske byrene seg på hele århundret.

Dørdalkista

Kornbyre Dørdal

Dørdalkista, Ankers nr 6, Thun & Svarvas nr 5, på Sverresborg Trøndelag Folkemuseum, er med sine 196 x 122 x 116 cm den største i gruppa. Foto: Norsk Folkemuseum.

Dørdalkista har sirkelrunde felt som Anker påpekte var mer presise enn de to andre i subgruppa. Sirkelrunde felt svarer i likhet med de to foregående til Løkkekista i utforming og håndverksmessig utførelse. Denne kista er hos Anker den siste utløper av byrene med arkadedekor på forsiden, og på grunn av det kompliserte profilverket henla han den til etterreformatorisk tid.

Hele 40 årringer med bevart yteved gjorde at fellingsår kunne tidfestes til mellom 1269 og 1313, og den er dermed datert til ca 1300. Her er det fristende å peke mot bevarte alterfrontaler med sirkelrunde felt datert til samme tid som mulige forelegg.

Bakk-kista

Kornbyre bakk

8. Bakk-kista, Orkdal, 135 x 80 x 73,5 cm.

Bakk-kista var opprinnelig delt i to rom. Med to sirkelornament med kryss i front. Den er den minste av de undersøkte kornbyrene. Anker har gitt den en tidligere datering enn de andre ettersom det innflettede andreaskors finnes på steinfragment allerede fra sent 1000-tall. «som alle slike flettede motiver peker det bakover mot førkristen ornamentikk»!! Anker daterte kista til så tidlig som fra 1100-tallet, men med 1200-tallet som mer sannsynlig.

Den ble i 2016 dendrokronologisk datert til første halvdel av 1300-tallet.

Forfallsteori for fall

Det var forfallsteorien som gjaldt for Anker. De mest forseggjorte kistene var for ham de tidligste, mens det med tiden skjedde en forenkling. Som det framgår tydelig av årringsdateringene gjengitt over må Ankers kronologi snus på hodet. Han traff ikke så verst med hensyn til den mest forseggjorte kista, men kistene han så som uttrykk for en degenerert folkekultur viser seg å ha vært de eldste. Med seg i fallet drar han Per Gjærders dateringer av enkle, rettvinklede flatrenne-profiler (norske pryddører), men det får være tema for en annen post.

Postskrift: Andre beslektede byrer

Avslutningsvis streifer vi innom Ankers to kister og en beslektet tredje kiste som ikke er dendrokronologisk datert.

Ankers nr 7

Ankers nr 7, gjengitt øverst, 187 x 116 x 93,2 cm, kistefragment kjøpt i Trondheim av Oldsaksamlingen og utvilsomt del av gruppa. Det har ikke latt seg gjøre å spore den opp hos KHM, men trolig dreier det seg om denne.  Den dukker også opp i bakgrunnen her og her.

Det er påfallende hvor langt forfallet har gått fra 1927 til Anker avbildet den til boka si. «delvis defekt, hele lokket mangler. Forsiden er her delt inn i to buer, temmelig brede og flattrykte oventil, mens skillet mellom dem bare går et lite stykke nedover og så glattes ut i plan med plankene. Hjørnestolpene, de innfalsede og tappede sidebord, det hvelvede lokk hvorav bare den fremste del har vært til å åpne, er trekk som alle stemmer overens med kistene nr 1, 2 og 3 på Norsk Folkemuseum.

Toskekista

Toskekista fra Sunndalen, Ankers nr 9, har særskilte blindarker (se venstre side og høyre side). Anker mente den skilte seg for mye fra de andre til å regnes til gruppa han analyserte. Den er tidligere publisert av Johan Meyer, Sunndalen, Fortids kunst i norske bygder 1938 s. 18 og pl XV, med feiltegnet venstre side. Den skiller seg ut ved flatt (sekundært?) lokk. Meyer mente den måtte være utskåret med kniv, kanskje ved hjelp av «meisel» (hoggjern). Målene er 150 x 102 x 70 cm.

Denne oversette kista

Kornbyre D.S.S. Foto Per Gjærder.

Blant kistene jeg er usikker på om Anker ikke fikk med seg var denne Kornbyra, fra D. S. S. Gransking av bygdehandverket på Vestlandet. Foto: Per Gjærder © 2017 Universitetsmuseet i Bergen / CC BY-NC-ND 3.0

Jeg har ikke klart å lokalisere denne, men bildet er arkivert i Gjærders prosjekt med gransking av bygdehandverket på Vestlandet, «etterrøkjingar» han og tre studenter holdt i Hordaland og Sogn og Fjordane på 1950-tallet i regi av Historisk Museum i Bergen. Med Anker skulle denne gis en etterreformatorisk datering, mens Thun & Svarvas korrigeringer plasserer den kanskje trygt i middelalderen?

Litteratur


Arkivert i:Middelalder, Trearbeid Tagged: Kiste
[syndicated profile] hibernaatio_feed

Saturday 16th September, wedding of Anna Attiliani and Francesco Betti, also known ans Damisella and Todeschino , who actually lived in the Imola at 14th century.

It all started year ago in Visby, Gotland. My young italian friends Anna and Francesco lived with us in Battle of Wisby camp. One day we were again taking a walk to the old town, and they asked me to take their photo at their favorite spot.
I did. They looked happy and very much in love so I sait that "you can use this at your wedding invitations".
You see, ten years ago me and Riku were in Visby and we got our picture taken - and year later we used that picture in our wedding invitations.
This young couple looked at each others and started to giggle. "Psstt.. this is a secret and you are first to know... we are getting married, next year".


Later that week they came to me. They had a question about their wedding.
"Would you make our dresses", they asked.
"Of course I would, it is an honour", I replied.
Medieval dresses yes. I forgot to ask "what kind of a dresses".

"We want real silk and real gold, no lurex".
"Well, we are thinking of pattern specially made for us, handwoven, real silk and real gold..."
(link takes you to read more from Anna´s blog Tacuinum Medievale)


This is what they asked me to to: they are from same manuscript, but from two different pictures.For the wedding they made this picture with little help of photoshop.


Long train and confetti, the thing they throw at wedding, is a lovely combination...

So the one year long project started.

During the winter we talked about the model, layers, details and most important: the gold fabric. I followed the project from aside, like "yes, that pattern would be awesome".
Then this spring I got message: "fabrics are almost ready".
It was time time to make first fitting.

How to deal when distance between client and seamstress is as far as Italy-Finland? We travel.
For first fitting Anna and Francesco came to Lahti Finland.
And this is the point where Noora comes in.

I met this talented tailor/dressmaker at Hämeenlinna medieval market few years ago. She came to my booth and we talked. She was interested in historical clothing and also medieval. I told her to come to my dress course - I had no idea I was talking to a double master in clothmaking...

This spring we sat together in Maikki Karisto´s spinning workshop and I told her that I´m going to make extraordinary dresses for a wedding in Italy.
I could see that she was more than interested so I asked if she wanted to come and help with the fitting. She is a master in pattern making so I had some selfish thoughts when I asked her to join the fitting.
Italian guests in Lahti. The lake ice was already too weak to walk.

At the end of March we finally had guest from Italy.
We could not tell anyone why Anna and Francesco visited Finland in that month,  when ice and snow were almost gone.
We did nothing else but fitting. And basting. And testing. 14 hours a day. We finished work only some hours before guests had to go back on very early flight.

Happy clients resting after crispy chicken meal on famous Bunny couch.

Noora has a nickname "millimeter", and it´s given for a reason. Her skills in pattern marking are superior.

Francesco´s fabric was already with them and Anna´s fabric was brought to my hands by a trustworthy delivery company few weeks later.
Same time I was working with Nesat project and then Vapriikki museum placed their big order so I was rather busy at the time...
So all the time when I was posting pictures of finished works I was also sewing these dresses.

I started working from top to bottom:
1. Anna´s supportive linen underdress, 2. Francescos figure shaping doublet. Very fashionable at 14th century!
3. Francesco´s silk dress, that hides the doublet.
4. Anna´s silk dress.
and then finally dresses number 5 and 6 - the two gold layers.

I decided not to think too much the fact that I was working with unique material - which also cost quite a lot. "It´s only fabric", I told to Noora, who did not dare to make first cut on gold.
So I did. Oh heavens it ruins the fabric scissors! The "just silk" dresses Noora cut with her steel carbon blade "these are only fro silk" scissors, but for metal me chose to sacrifice my scissors.
You see, cutting and sewing gold is not easy, specially sewing when there are several layers. It makes needle blunt - the needles had to be sharpened frequently.
It hurts fingers, makes them bleed, if you don't us thimble. Wrists hurt. And it´s very slow, I noticed.

I made the clothes in my kitchen - and this little help was with me most of the time.

Anna´s pattern has birds and feathers. It´s based on extant piece located Uppsala cathedral, where they also have Margareta´s golden dress.


"I can´t cut this I can´t cut this..." Noora cut´s fabric every day at work,. but this was something different. That is not a cheap fabric, I can tell you.


 "Naah, just give ge the scissors, it´s only fabric", I replied. Tikru agrees.


"Ok, I can go from here".


Padding, padding padding... every stich by hand.


Yes, the gold fabric was fraying a lot. So I found these golden yarn balls everywhere in our house. And I still find gold threads, even dresses left the house over a month ago.

After padding I was sewing silk with silk,


and then more silk with silk.


 And then I was sewing silk+gold and super fine wool with silk.
Sewing through real gold is not easy, I can not tell. But I l learned quickly in which angle the needle goes through - and when it doesn´t.

Then it was time to do the second fitting, this time in Italy. And yes, we still could not tell what we were doing, so "for no reason me and Noora just decided to spend weekend in Italy". We stayed in B&B close to Milan airport and fitted and fitted. Not 14 hours a day - we were in Italy so we ate too.

Second fitting In Italy. Anna got the fit the basted dress to see the shape. I decided to shorten dress a little bit from the front, to make it easier to move with.

The pattern on Anna´s dress is inspired by Margareta´s golden dress, the famous dress from Uppsala. We also decided to make her a proper trail. The very wide skirt part is pieced - the fabric itself is narrow. We did not cut  gores in the middle because we wanted to keep the pattern intact in the whole front piece. The back piece has a middle seam and both pink and golden layer have a side lacing.
The fabric is 63 cm wide - the dress has almost 12 meters of it.. Anna had a plan for off cuts so we could spend some extra fabric to make patterns even.


 Not just work, also sun and good food in Italy.


Anna finished her dress with pearls - like the original manuscript picture also has. Testing!

How about some padding..


My version of thimble: Moomin tape. Yes, the gold is hard for finger tips. I can tell that they do have my dna in one of the dresses...
Every single stitch in these six dresses are handmade.


 Buttons!


I was sitting in my kitchen and sewing - and sometimes there was sunlight, so I could just admire the shine of the silk and also gold.


I saved every piece of gold fabric and returned it to owners. They made some special gifts -  I got for example a small purse of Francesco´s fabric - and he carefully separated gold threads to make tiny golden tassels to my purse <3 p="">


Francesco´s clothes ready - the middle layer is very basic, a bit like Bockstenman but in silk. I made also the fur work.


Francescos middle layer has tiny metal buttons.


Close up of Francesco´s patter - it has deer, dog and some kind of bird beast. His linins is light blue silk.


Final touch: Anna´s silk dress has tiny tiny hooks and eyes. They are made by Francesco and so small I can hardly see them (I am half blind you see, so some things I can´t do). Noora the Millimeter helped and if you look close, she also got some help...


When we travelled to fitting, all fabrics were in my hand luggage  - and when Italian airport security service wanted to see what I had in my bag I told them "NOT TO TOUCH".
When the dresses were made, we did not even consider of putting any of these to risk by sending them by mail. So: when we met in Sweden in the beginning of August, at Carnis banquette,  I was carrying the dresses again in my red back pack as hand luggage to give them to new owners.

My work was done - Anna finished her outfit by sewing pearls to the pink silk layer sleeves and adding the gems and pearls to the golden dress neckline.
More of the patterns, materials and acccessories you can real at Anna´s blog. The golden crown and Francesco´s belt are stunning work.

Anna and her father Walter.


One word. "Yes."




I want to thank Anna and Francesco for this once in a life time experience - it was an honour.

Knitting progress.

Sep. 18th, 2017 08:47 am
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Posted by Katrin

lacekante_batonrouge

The current knitting project, Baton Rouge, is coming near its end – the lace border around the front is almost done, and what remains now is to sew the (already blocked) sleeves together and sew them in – and then I’ll have a nice new silk jacket.

There were a few tangles at the end (metaphorical ones) – I picked up more stitches than the pattern called for to have sensible spacing between the stitches in the first knit row, then worked k3tog instead of k2tog in the first lace row, after trying with the original setup for a bit and quickly finding that it made the lace too squished together.

The second, bigger, tangle happened about where the picture was taken – there’s supposed to be four rows with yarnover holes as per the picture in the pattern. Which will happen if you make row 11 a p2tog, yo row and not, as the pattern also tells you, a p row (there are two listings for r. 11, and guess which one is first in sequence? Right. The purl one, which is the wrong one). So I purled a bit, then found the mistake, tinkered back and did the correct r 11.

Soon now. Sooooon. And once this is finished, I’ll get back to the sleeves on Moyen Age!

July, the female labours

Sep. 18th, 2017 04:50 am
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Posted by opusanglicanum

In the men’s labours June, July, and August are all harvesting and threshing images, which emphasises the central role of agriculture in medeival life, but to be honest it got a bit boring. So in the female version I’ve pared it down to one image, and Mrs july is helping with the harvest, although she could just have easily have been gleaning – worrever, she is making the point that often men and women worked side by side in medeival agriculture.

There was a lot of playing in this image. The wheat is pretty standard, but I had another go at the circular treatment of ground I noticed so much at the V and A exhibition, but this time using two more contrasting colours. My hope was to depict the stubble post harvest, but kids have been asking me for months if I’m sewing a pizza, and then pointing out that the tree looks like a mushroom on top…

Actaully I think that’s brilliant. I told Gareth about it whilst he was wet stretching it for me, and after he’d stopped laughing he told me all about how he once co-wrote a paper becasue he’d genetically engineered a plant to extract explosive toxins from agricultural land in warzones. He said he just tweaked the plant, the other guy did all the research.

I’m pretty pleased with the tree, actaully, it’s like the little medeival lollipop tree of M C Escher.

July’s cats are Newt and Tadpole. In reality they never met. Newt broke my heart by getting some sort of leukaemia/lymphoma and dying when he was only two (I spent months nursing him), Tadpole came along straight after and was named in his honour. Then Tadpole broke my heart again, I came home one day and he was all dead and contorted on the floor at only 18 months old. The vet was so concerned he did a post mortem, concluding that it was a sudden, massive heart attack. They two  very sweet little greykins (well, actaully, they were both enormous cats) so I thought it would be nice if they could chase mice in the sun together, because I think they would have got along famously.

I will get back to the ABC tomorrow


Some News and a Handful of Projects

Sep. 17th, 2017 03:05 pm
[syndicated profile] edythmiller_feed
Photo by the incomparable Dame Marissa von Atzinger.
Last weekend, I was honored to be placed on vigil for the Order of the Laurel (the SCA's highest award for excellence in the arts & sciences). I have long hoped that being worthy of the Laurel would be a part of my journey, and though it is a milestone, not a destination, to be able to rest here a while and enjoy this step is exciting and fulfilling. My elevation will be occurring next weekend (hardly enough time to plan, but there are family reasons involved), so I am of course waist deep in sewing! I thought today I'd catch you up on my plan and what I've done so far.

Before I do that, though, I need to give you all a heart-felt thank you. In the 9 or so years I've been writing The Compleatly Dressed Anachronist, I have received countless messages of encouragement from so many of you. Every read or like has given me the confidence to continue moving forward, and provided accountability I could never have gotten anywhere else. Having you all here to share my work with has become a part of who I am, and has given my craft and research purpose beyond just wanting to do it. Thank you from the deepest part of my heart for keeping me going.

A few weeks back, my Laurel forcefully indicated that I should make something fancy for Midrealm's Fall Coronation (at which he will be stepping up as King). Since he'd never insisted on anything so firmly with me before, I reviewed my options. I've made it a very specific point to avoid doing fancy things. It's not correct for my class or period to have decorated clothing, or to wear certain gowns that might be considered "fancy". (I've delineated the class clothing groups here.) The one occasion in which wearing an upper class gown would potentially be important would be if I were ever to be elevated. For the past year or so, I've had a light gray wool from Dorr Mill saved for that "special day". It was also the only wool I had available when the "fancy dress" request came in. So, of course, according to the Rules of the Universe (TM), I decided to use it.

I knew that the upper class gown I'd envisioned wasn't the right choice for the requested fancy gown (because I wasn't being elevated), and I'm still in my Doppelgänger Challenge, so any dress I made, I had to be able to find in an image. For several days, I scoured all the early 15th Century French manuscripts I had tagged in various places for any ideas. Eventually, I began looking for a simple, middle class houppelandes (I wrote about those in my last post), and I found this perfect image:

BNF, Dept. of Manuscripts, Français 239, fol. 130r, possibly late 1430's.
Years ago, I'd attempted to do a version of this style houppelande based off this one by Matilda La Zouche. I did it in linen, and I made a lot of errors. I liked the idea of trying again in wool with several more years of patterning and sewing experience under my belt. After looking around online for pattern ideas, I cut the four panels roughly trapezoidal (using a nice-fitting T-shirt as a guide), and also cut two full-side gores to increase the gowns girth. That left me with enough to create slightly full long sleeves. After some finessing of the seams, I had this:


The picture doesn't do it to too much justice, but it fit well, with just enough fullness to create pleating with a belt. So set to go, I took it all apart to sew it all back together by hand. In fact, I was working on that last weekend at the event. Of course.

I did really like that way the houppelande was turning out, but when I was placed on vigil, everything got thrown into the pile of "things I need to figure out". After a few days of thought, I decided that the vision I had for my elevation was more important to me than continuing to make the houppelande. While the angel wing sleeves I'd envisioned were not going to be possible any longer, I decided to refit the houppelande into a slightly fitted gown. Here it is after trimming it down by removing the side gores and repositioning them as center front and back godets, and then slimming the sleeves to be less full:


That's not all that dress has in store, but it's all I can show at this point. It will be machine sewn, but will also have plenty of hand sewing. Suffice it to say that it will be special, and suitable to my new rank. I'm just happy that I was able to repurpose the houppelande to mostly be what I wanted for my elevation. I have "simple houppelande" on my project list for the future- it's a dress I'd really like to make, but at a later date.

I should also mention that I've decided to somewhat stretch the rules of my Challenge in order to  have what I'd like for this ceremony that will only happen once. Rather than using a single image of one woman, I'm sourcing each of the elements from different images, and as need requires, combining a few images to support the choices I've made given the limitations of materials and time. The Doppelgänger Challenge is important to me, and I feel that I'm striking a good balance, all things considered.

All this also gave me the perfect excuse to start completely from scratch with a new supportive dress pattern and a new chemise. I was surprised at how quickly the new pattern came together (I guess I really DO know what I'm doing), and it's honestly the best fitting pattern I've made to date. I was amused by the number of incremental adjustments I made, including about 8 additional tweaks to specific points. Here's one of the side seams mid-way through the process:


Back in July, I'd purchased some linen/cotton to make a new chemise, and I still had that waiting. For the sake of time, I decided to do the majority of the sewing of the chemise by machine. I figured that I can always hand-sew the next one, and at this point, done is better than perfect. I also knew that I would not be able to get away with a sleeveless chemise, since the wool I'd be wearing over it for my vigil is not the type of wool you want against your skin. I used my own sleeve patterning technique with a bit less ease than the pattern calls for. I ended up with a chemise that fits perfectly, is insanely comfortable, and looks great (for being machine sewn):


After getting it all assembles and most of the seam finishing done by machine, I used hand sewing to attached a facing to the neckline (the selvedge from the cloth) and to finish the hems on the sleeves. I'll also hand sew the sleeve attachment seam when I can get back to that.


Next up is the dress I will wear during the day for my vigil. Since I didn't have time for swatches, I looked for an option that I couldn't really go wrong with. I ended up looking at Dorr Mill's selection of herringbone wool. I love the herringbone pattern, and while I can't state with conviction that a middle class woman of the early 15th century would have used it, it was a known weaving technique in period. I will fully admit that this is perhaps the one area in which I compromised the most to get something I liked more than something that I was sure was "correct". I decided to go with the Cobalt and White colorway which looks like a medium blue heathered wool at a distance, which does at least fall within the acceptable color range of blues for this period.

The vigil dress will be a typical fitted cote like the kind I usually wear. It may or may not have buttoned sleeves, but it will lace up the front. I have a week to complete this dress, so I plan to machine sew the pieces together, but hand sew all the finishing.

As a final sneak peek, here is the "color story" for the day:


Next weekend, I'll be camping until Sunday, so in two weeks, I'll share how everything turned out. For now, it's back to sewing!
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This post finalizes the story of the hanging cupboard for Castle Muiderslot. Previous parts considered the carving of the panels, the metal parts and the construction (Part 1, Part 2, Part 3, Part 4, and Part 5). This last part will show the making of the carved crown.

Carving the top crown


We planned to make the top crown like the original hanging cupboard in Cologne. This crown consists of two rilled bottom lines, and a top part with alternating open quatrefoils and closed X-like parts.

The front top crown of the Hangeschrankchen from the Museum fur angewandte Kunst in Colgne, Germany. You can see behind the crown, the parts of the cupboard that connect to it; most is left open. 

First, the rilled lines were made in oak using an adjustable scratch stock, a scraper-like tool that can be set at a specific distance. While the scratch stock did not work for the eagles feathers on the sella curulis, it worked perfect for the scapradekijn. After this, the parts for the open quatrefoils were deepened by hand using a chisel. Next, the quatrefoils were drilled open and widened with a carving knife and file. Then, the interspaced closed X-like parts were carved. Finally, the hole in the middle of the X was drilled with a brace holding a spoon bit at a depth of approximately a third of the thickness of the wood. Using a spoon bit ensured that the hole had a nicely rounded bottom.

 First one line was scratched, then the scratch-stock was adjusted and the second line was carved.

Deepening of the spaces for the open quatrefoils (at castle Hernen). 

Bram at work on the cupboard crown at castle Hernen.

Bram carving the quatrefoils of the crown at the courtyard of castle Muiderslot.
  
Marijn drilling the holes in the closed X with a brace at castle Muiderslot 
(image from the book Wonen in de Mideeleeuwen).

 
The two side pieces, carved and oiled. 

Connecting the three parts


Also the three top rim parts were connected to each other with secret dovetails. For this, first an end-grain rebate had to be made. I used the table-saw set at a specific height to produce exact rebates. Then the secret dovetails were sawn and cut with a chisel. A nice guide to produce secret dovetails can be found at the Fine Woodworking magazine blog.

The end grain rebate sawn by the table-saw. A small slate was kept at the end of the roller table  to avoid splintering of the rim by the saw blade. 

The layout of the secret dove tails drawn on the end of the rim.

The finished secret dovetail.

The secret dovetail joined together.

Preparing the hanging cupboard

The crown will be fixed to the parts of the cupboard that protrude above the top shelf. However, these parts will partially close the openwork quatrefoils. This problem was solved in the original piece, by cutting out some parts of the protruding panels. This solution was also used for our scapradekijn; made the protruding panels 'crenelated', thus allowing space for the openwork quatrefoils. The middle panel - the door of the scapradekijn - has no protruding parts, as it needs to be opened. Instead a smaller piece of (crenelated) oak was added to fill the gap here.

The top of the Hangeschrankchen at the MAK in Cologne. You can see that specific parts of the top are cut out (green arrows) to allow the quatrefoils to be open. For the door of the cupboard the space is even larger (red arrow).

The crown fitted to the cupboard. You can see that the openwork quatrefoils are partially covered by the protruding parts of the cupboard panels. There the wood needs to be removed to allow a fully open quatrefoil.

The middle panel (the door) has a small piece of wood added (unoiled) 
in order to close the gap that would appear when the door is opened.

 Bram sawing the 'crenels' with a fretsaw and cleaning them with a file.

 A test fitting of the crown in the workshop.

Adding the pins 

With everything ready, the crown was fitted with wooden dowels to scapradekijn at a special session at Castle Muiderslot. As drilling holes for the pins was done with an electric tool, this had to be done before the visitors arrived at the castle. Hammering the pins, however, in was done with the public. Clamps held a wooden strip behind the crown to avoid splintering during the drilling process, if the drill bit went too deep. (Luckily this did not happen). Pins were placed between the rilled lines and in the closed X parts. When all pins were hammered in (with help of the visitors), they were cleaned and finished with some linseed oil. 


Marijn drills the holes for the crown  early in the morning at castle Muiderslot.

The crown is clamped to the cupboard. On the left you can see the 'safety' piece of wood. 

 
The first few pins were hammered in, before the modern clamps were removed. They were then replaced by wooden screw clamps for the remainder of the pins.

On display in the red chamber

The redecorated red chamber in Castle Muiderslot, with the wall and chimney paintings, two tapestries and the scapradekijn.


The beautiful side of the red chamber; the other side of the room still has a modern shelf packed with 'medieval clothes' that can be tried out by children, including the ubiquitous wooden swords and shields.

The finished scapradekijn.

Bielefeld spinnt!

Sep. 15th, 2017 07:51 am
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Posted by Katrin

Today, I’m off to Bielefeld, to set up the shop there, give a workshop on spinning and have a fair amount of fun.

Today, by the way, is also my one year anniversary of reaching my goal weight, and I’m happy to say that I am still in the goal weight range (with fluctuations, depending on water retention levels, which are closely connected to stress levels), and still very, very happy about it.

While most of the time I manage quite well, there are times when it’s not as easy for me to keep the right balance between eating enough and eating not too much. Especially in these times, I can really feel that both the years of being overweight and the wild ride I took as the weightloss phase certainly left their traces, and I get really odd trains of thought. These things usually happen when I have a good bit of water retention that is hard to explain and stays for more than a few days, making me rather… anxious. Yes, even if I can be pretty sure it’s water, and will go away, and even though I know that in some cases it will take at least two weeks before it starts flowing out. In these times, I sometimes also have problems estimating how much food I’ll need (with not-so-nice side effects if I underestimate too much)

Overall, though? Everything is fine and dandy. And I am happy.

Garden pics.

Sep. 14th, 2017 08:19 am
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Posted by Katrin

Actually, this title is half a lie, because only one picture is an actual garden pic – this one:

gladiole

It’s a surprise gladiolus that one day just turned up here, and now it’s blooming brightly red and standing tall. Well, with a little help – the flower stalk actually had grown so tall that a heavy rain flattened it down to the ground, and it needed a support to keep it upright after that.

The other one is of a plant that resides in our wintergarden – sea kale.

meerkohl

This is a plant grown from seeds that I took from actual wild sea kale on one of our trips to Britain (so it’s a pre-Brexit-Britain-exiter!). Sea kale doesn’t grow easily from seeds, and it took about 20 of them to get me one single plant, which I then tried to coddle and coax into growing.

It was… rather uncooperative, languishing with only two or three small leaves… not very promising at all. So I kept it in the protective wintergarden environment, and then it got its very own nice large pot with water reservoir, and still… nothing.

I did know that sea kale is a halophyte, but as I also knew that it had been grown inland in former times, I had not added salt to its diet straight away. (The German wikipedia article about halophytes is much more elaborate than the English one, by the way, so if you read German, it’s the better choice.) Then, finally, I started watering it with the water we had boiled our pasta in. Salty water. With lovely sea salt. And slowly, this little plant started to grow a few more leaves, and to get a little larger. It’s still not very large – especially not compared to the huge, huge sea kale plants growing on the British Coast – but it might just need more salt, and I’m sort of afraid to overdo it, so I’m upping the dosage only slowly and slightly.

Moral of the story: there are plants that can tolerate salt, and plants that actually need salt, and the latter will not do well without it, even though they might survive (if barely) in normal soil. Salting the earth, in that case, is actually helpful!

Oh, and bonus proof it is a cabbage species:

schmetterlingseier

The little yellow dots are cabbage white butterfly eggs.

S

Sep. 14th, 2017 05:57 am
[syndicated profile] opusanglicanum_feed

Posted by opusanglicanum

is for sheep. Especially since my scroll is meant to be for the education of young sheeps.

I used fluffy silk couched down on top of gilded leather. It’s an example of medeival techinque and materials used in a not particularly medeival way, but I wanted him to look like the golden sheep of Greek legend – no reason we can’t have the odd classical reference in a medeival project. He was meant to be couched in celtic spirals, but that didn’t quite work out, the fluffy silk was too fluffy.

I did get quite annoyed with myself though, because I got halfway through and realised I’d sewn him on upside down. I was tempted to make him an antipodean sheep, since even with a glovers needle leather isn’t that easy to sew, but I grumpily picked him off and started again.

He looks very pleased with his golden self, doesn’t he?


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Posted by Racaire

Yes, I know, I was quite silent recently. But I had a very good reason for my break as I’ve been working like crazy on a fitted 12th century silk bliaut (dress) for the future Queen of the Kingdom of Meridies.

…and like always – when it comes to special projects like these – the time frame for completion is very limited. The bliaut has to be finished before the upcoming coronation event – preferably sooner than later. However, you find me relatively relaxed as I already made some great progress. Her silk underdress is already finished as well as a good part of the bliaut. I am quite optimistic that I can get nearly everything finished for her second and last fitting at MGT – the Meridian Grand Tournament. Where I hopefully only have to adjust the bottom line of the skirt part. And this is only possible thanks to a dear friend of mine – Mistress Catelin The Wanderer. Catelin was so kind to embroider the embellishment parts of the dress.

Now you might wonder why I am using the embroidery of someone else and don’t do it myself. Well, I am quite fast when it comes to sewing or embroidery. However, a rather complex project like this – a closely fitted 12th century silk bliaut & underdress and elaborate embroidery is just more than one person on their own can handle in such a short time frame. 

Apropos embroidery – I still owe you the last pictures of my medieval islamic inspired embroidery project. We will take a look at them today… – enjoy! 😀 

I am sorry, but the following content is restricted to logged in members of my blog.

I hope you enjoyed the last pictures of my very first medieval islamic inspired embroidery project. I have to go back to the eyelets of the 12th century silk bliaut I am working on but hopefully I’ll find some time soon to show you some progress regarding the coronation dress… 🙂 

Best regards Racaire…and here you can find some other postings about this project:

The post …my medieval islamic inspired embroidery project – the embroidery .1 appeared first on Racaire's Embroidery & Needlework....

… and photographing.

Sep. 13th, 2017 08:20 am
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Posted by Katrin

Talk Like A Pirate Day is drawing nearer again (September 19!), and that is a good reason to pull out the Pirate Robert hats again and take some more photos – especially since the hat pattern is going to be featured in an article soon (and I’m utterly excited about that!).

Some things, though, are notoriously hard to take good photos of. Gold embroidery, or gold brocading, for instance – the glittering gold has a tendency to mess with the exposure time calibration of cameras, and this tends to result in really bad pictures.

While knitted hats are usually not suffering from exposure time problems due to gold thread, small cables also have a tendency to look really obvious in real life, just to suddenly and quietly disappear into invisibility on a photograph. Human eyes and human brains are just really, really good at seeing 3D and making the most even of small differences of light and shade.

So I was very happy about having two nice little photo lights, and a good tripod, and some time for fiddling. And some more time for fiddling. Then some more. There were also some, um, alternative supports for the two photo lights so that I could adjust them juuust so – a few millimetres, or a few degrees of the head angle, already made a huge difference in the outcome.

pirate_roberts_pics

Lamps, a styrofoam head with the hat, a camera on a tripod. And some motivational coffee (not shown).

In the end, though, I did get a few decent pictures – so I’d say the fiddling was well worth it!

pirate_roberts_detail

R

Sep. 13th, 2017 07:09 am
[syndicated profile] opusanglicanum_feed

Posted by opusanglicanum

is for repairs.

You may or may not know my long running fascination with the value of textiles in the middle ages- it’s a big part of why I get so interested in applique. The Bodleian workshop similarly focused on the re-use and repair of parchment and manuscripts, showing several text with repairs, or even instances of legal texts being scratched out and used for playscripts.

This panel might perhaps look a little tatty alongside it’s grander nieghbours, but that’s sort of the point.

footnote – the only reason you get a post today is that I lined it up before bed last night, just before the tummy bug kicked in. the only reason I’m sat here now is I’m trying to ring today’s client and cancel, but their phones engaged. wanna go back to bed


Embroidered eye-candy

Sep. 12th, 2017 08:56 am
[syndicated profile] jessicamgrimm_feed
Before I open the candy tin, I would like to voice a big thank you to all who left comments of encouragement on last week's blogpost. I also received many personal emails and further comments on my instagram account. Thank you very much! What will happen next? The farm building is beyond help and will be demolished. The cattle will be sold over the next weeks. The Lötschmüllerhof will no longer be a farm. That's a strange idea. As reference to 'the farm' in my family was always to this particular place. However, we are all settling in to our new lives and the help from others is balsam to our souls.
On to the eye candy! Remember this piece by Anja from the Netherlands? She started it earlier this year during one of my stitching retreats. I think she did a terrific job! The piece is balanced and the purple flower is such a beautiful centre piece. So proud of her :). By the way, I am running the next crewelwork stitching retreat from 23-10-17 until 27-10-17. You can sign up here.
Next up is a stumpwork piece by Annelot from the Netherlands. She started it last week during my stumpwork stitching retreat. Annelot is creating a stitched version of Treebeard, the oldest Ent from the tales of J.R.R. Tolkien. For his mossy beard we tried the overtwisting method as described by Alison Cole in her great book on stumpwork (you can read my review here). This is a fun method with great texture. Can't wait for the piece to be finished. Would you like to try your hand at stumpwork embroidery? Why not sign up for my two-day workshop 'Summer Sampler'?
Over the years, I have learned that embroidery calms and sooths my soul. So I was particularly happy to find the September #broderibox by Nordic Needle in my mail last week. With this month's threads I worked a moth from one of Millie Marotta's books. I used Snow by Caron, Watercolours by Caron, Kreinik Silk, Colour variations by DMC, Londonderry linen thread and silver plated spangles. The moth is stitched using a combination of Schwalm drawn-thread work, surface embroidery and stumpwork.
And last but not least, this altar frontal or antependium was saved from the fire. It used to adorn the Corpus Christi altar put up in front of the farm every other year. It is a little dirty, so I will try to gently clean it. Since the altar did burn, we need to construct a new one. But the antependium will still adorn it!

And that's it. All candy distributed :). See you next week!

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