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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Princess Elizabeth
Date: Wed, 1 Mar 2006 01:00:42 -0600
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Nice site.
http://www.ninyamikhaila.com/Princesselizabeth.html
If you go to the purple dress, the all white and cream garment is the
kirtle.
She seems to have used the kirtle bodice as a corset and boned it. This is
interesting, I wonder if this is learning from extent garments or theory.
I am curious about the petticoat, taffeta bodice and wool skirt. As I am not
an expert, these layers are new to me.
Becky, Note the sleeves of the smock and then compare it to the picture with
the cream false sleeves.   The poufs in the false sleeves are not from the
smock sleeves.
The purple laced picture is showing the bodice of the purple gown. A placard
which is a piece of material that is sewn in the shape of the front of the
bodice covers the lacing and is pinned with straight pins along the sides.
The points of the pins are embedded between the layers.
So what she has is:
smock
bodice and wool skirt
petticoat
farthingale
kirtle/corset
gown.
Is this correct?
I have alway thought it was:
smock (maybe underwear)
kirtle
gown
What I find frustrating with the site is that only the children's costumes
show the layers but not the adults.
Beautiful work though.

De

-----Original Message-----
It came from someone on the h-costume boards. I will see if I still have the
reference.
I don't know what a short sleeved kirtle looks like.
I have the Margo Anderson patterns, the Arnold books and ordered one by Jean
M(? I can't remember the last name right now) It's about costuming.
The site where I have seen the pictures of the layers used for this portrait
is "Ninya Mikhaila" ninya@ninyamikhaila.com
http://www.ninyamikhaila.com
Her website has 2 versions of a gown from the portrait. One shows the layers
and the other shows how she did the front opening. She also wrote to me when
I asked questions. She has been very helpful and easily available when I
needed her advice.


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Subject: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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At 01:59 PM 2/28/2006, you wrote:
>I don't know what a short sleeved kirtle looks like.


Hmmmm... maybe I am putting 2+3 and getting 7 here, but could this image 
below be an example of a short sleeved kirtle with an attached sleeve?

http://www.morganlibrary.org/collections/collections.asp?id=60
zoom in close to the far left of the image. It is a woman working whacking 
something. She's wearing green dress with short upper sleeves, and a 
pinkish colored lower sleeve. She's holding a cudgel? or something in her 
hands.

Granted, it is a working woman who is from Belgium, not England. She's also 
not a noble woman, but could this be an example of something similar to 
what we can't see under Tudor gowns?

Kimiko
She who may be grasping at straws in the early morning hours.



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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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At 09:11 01/03/2006, you wrote:
>At 01:59 PM 2/28/2006, you wrote:
>>I don't know what a short sleeved kirtle looks like.
>
>
>Hmmmm... maybe I am putting 2+3 and getting 7 here, but could this 
>image below be an example of a short sleeved kirtle with an attached sleeve?
>
>http://www.morganlibrary.org/collections/collections.asp?id=60
>zoom in close to the far left of the image. It is a woman working 
>whacking something. She's wearing green dress with short upper 
>sleeves, and a pinkish colored lower sleeve. She's holding a cudgel? 
>or something in her hands.
>
>Granted, it is a working woman who is from Belgium, not England. 
>She's also not a noble woman, but could this be an example of 
>something similar to what we can't see under Tudor gowns?
>
>Kimiko
>She who may be grasping at straws in the early morning hours.


http://www.wga.hu/frames-e.html?/html/m/michele/index.html

(A Hungarian working in Ferrara mid 15th century)

And there are several short sleeved garments in paintings by Rogier 
van der Weyden, c. 1450,  one of which clearly shows the pin holding 
the sleeve on, although this may actually be from the shoulder strap.
http://www.ibiblio.org/wm/paint/auth/weyden/magdalen.jpg

(The Altarpiece of the Seven Sacraments,
http://www.shop-com.co.uk/amos/cc/main/prod/act/21946059/ccsyn/261

You will have to enlarge this - she is the figure on the bottom right 
of the centre panel.

The Descent from the Cross (huge, in the Prado in Madrid. She is 
wearing what looks like a gown made from oblongs of wool - quite 
fascinating- I spent ages in front of it and still haven't worked it 
out!). (Also called the Deposition from the Cross)
http://www.ibiblio.org/wm/paint/auth/weyden/decent.jpg

I realise these are not 16th century, but short sleeves kirtles were 
obviously worn earlier, so is it possibly that the fashion could have 
continued in the later period?

Suzi 


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Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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> I realise these are not 16th century, but short sleeves kirtles were
> obviously worn earlier, so is it possibly that the fashion could have
> continued in the later period?

In Germany you have half sleeve gowns of all sorts in the 16thC. I just
recently made a very light summer version:
http://costumes.glittersweet.com/sca/k/3cleves.htm

I have some thumbnails that link to the full images which show the dress
style in context. Earlier in the century of course there are the spit
sleeves where the lower piece can be removed, these gowns may have evolved
from there. Or not;)

They are worn with fitted sleeves underneath usually but the Dutch dresses
wear the sleeves pinned to the outside.

I realise there are short sleeved robes and surcoats worn in England and at
other times, so this short sleeved outerwear may not be completely helpful,
but it does show short sleeves were worn.

I also doubt that sleeve length was often mentioned in inventaries and
wills?

michaela de bruce
http://costumes.glittersweet.com



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Subject: Re: [h-cost] Men's shoes 1800-1810 question
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Thanks for all the response.
I am getting an idee of what I can do.
I don't want him to buy expensive shoes just for one event.

Greetings,
       Deredere

Sharon at Collierfam.com wrote:

>My husband is in "Once Upon A Mattress" and just bought "jazz" shoes-- flat,
>black, with a small heel. Not perfectly period, but close, easy to find and
>comfortable.
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
>Behalf Of AnnBWass@aol.com
>Sent: Thursday, February 23, 2006 11:50 AM
>To: h-costume@indra.com
>Subject: Re: [h-cost] Men's shoes 1800-1810 question
>
>
> 
>In a message dated 2/23/2006 10:26:56 A.M. Eastern Standard Time,  
>suzi@suziclarke.co.uk writes:
>
>Flat  pumps, very like ladies' shoes of the same period.
>
>
>
>Ditto--definitely NOT boots--they were not proper for the "drawing room"
>nor 
>for the ballroom.
> 
>My husband wears a loafer type shoe, but with the seam stitched inside,
>like 
>this.
>_http://www.allenedmonds.com/webapp/wcs/stores/servlet/SearchDisplayDetailVi
>ew
>?storeId=1&langId=-1&contractId=100&catalogId=40000000001&parent_category_rn
>=1
>83&categoryId=190&productId=6370000&imageType=1&occasion=190_ 
>(http://www.allenedmonds.com/webapp/wcs/stores/servlet/SearchDisplayDetailVi
>ew?storeId=1&langI
>d=-1&contractId=100&catalogId=40000000001&parent_category_rn=183&categoryId=
>19
>0&productId=6370000&imageType=1&occasion=190) 
>  Regular formal pumps don't seem to come wide enough to fit  him.  But if 
>you can find them, they would be best.  
> 
>Ann Wass
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
>
>
>_______________________________________________
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>  
>


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Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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Someone refered to this hat as the "Fram Filter Hat". It's the only one I've 
seen like that.
Sleeves... is this an outer gown or a kirtle? I see the attached lacing for 
the lower sleeves.
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 01, 2006 4:54 AM
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}


> At 09:11 01/03/2006, you wrote:
>>At 01:59 PM 2/28/2006, you wrote:
>>>I don't know what a short sleeved kirtle looks like.
>>
>>
>>Hmmmm... maybe I am putting 2+3 and getting 7 here, but could this image 
>>below be an example of a short sleeved kirtle with an attached sleeve?
>>
>>http://www.morganlibrary.org/collections/collections.asp?id=60
>>zoom in close to the far left of the image. It is a woman working whacking 
>>something. She's wearing green dress with short upper sleeves, and a 
>>pinkish colored lower sleeve. She's holding a cudgel? or something in her 
>>hands.
>>
>>Granted, it is a working woman who is from Belgium, not England. She's 
>>also not a noble woman, but could this be an example of something similar 
>>to what we can't see under Tudor gowns?
>>
>>Kimiko
>>She who may be grasping at straws in the early morning hours.
>
>
> http://www.wga.hu/frames-e.html?/html/m/michele/index.html
>
> (A Hungarian working in Ferrara mid 15th century)
>
> And there are several short sleeved garments in paintings by Rogier van 
> der Weyden, c. 1450,  one of which clearly shows the pin holding the 
> sleeve on, although this may actually be from the shoulder strap.
> http://www.ibiblio.org/wm/paint/auth/weyden/magdalen.jpg
>
> (The Altarpiece of the Seven Sacraments,
> http://www.shop-com.co.uk/amos/cc/main/prod/act/21946059/ccsyn/261
>
> You will have to enlarge this - she is the figure on the bottom right of 
> the centre panel.
>
> The Descent from the Cross (huge, in the Prado in Madrid. She is wearing 
> what looks like a gown made from oblongs of wool - quite fascinating- I 
> spent ages in front of it and still haven't worked it out!). (Also called 
> the Deposition from the Cross)
> http://www.ibiblio.org/wm/paint/auth/weyden/decent.jpg
>
> I realise these are not 16th century, but short sleeves kirtles were 
> obviously worn earlier, so is it possibly that the fashion could have 
> continued in the later period?
>
> Suzi
>
> _______________________________________________
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
Date: Wed, 1 Mar 2006 07:58:41 -0500
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Status: RO

Looks like she is preparing flax.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 1, 2006, at 4:11 AM, Kimiko Small wrote:

> At 01:59 PM 2/28/2006, you wrote:
>> I don't know what a short sleeved kirtle looks like.
>
>
> Hmmmm... maybe I am putting 2+3 and getting 7 here, but could this 
> image below be an example of a short sleeved kirtle with an attached 
> sleeve?
>
> http://www.morganlibrary.org/collections/collections.asp?id=60
> zoom in close to the far left of the image. It is a woman working 
> whacking something. She's wearing green dress with short upper 
> sleeves, and a pinkish colored lower sleeve. She's holding a cudgel? 
> or something in her hands.
>
> Granted, it is a working woman who is from Belgium, not England. She's 
> also not a noble woman, but could this be an example of something 
> similar to what we can't see under Tudor gowns?
>
> Kimiko
> She who may be grasping at straws in the early morning hours.
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
_______________________________________________
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I don't know about the short sleeves but she is whacking linen. I saw a 
demonstration at my weaving guild and it was just like that. I'm not familar 
with the term for the technique.
----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 01, 2006 4:11 AM
Subject: [h-cost] short sleeved kirtle {was Princess Elizabeth}


> At 01:59 PM 2/28/2006, you wrote:
>>I don't know what a short sleeved kirtle looks like.
>
>
> Hmmmm... maybe I am putting 2+3 and getting 7 here, but could this image 
> below be an example of a short sleeved kirtle with an attached sleeve?
>
> http://www.morganlibrary.org/collections/collections.asp?id=60
> zoom in close to the far left of the image. It is a woman working whacking 
> something. She's wearing green dress with short upper sleeves, and a 
> pinkish colored lower sleeve. She's holding a cudgel? or something in her 
> hands.
>
> Granted, it is a working woman who is from Belgium, not England. She's 
> also not a noble woman, but could this be an example of something similar 
> to what we can't see under Tudor gowns?
>
> Kimiko
> She who may be grasping at straws in the early morning hours.
>
>
>
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From: Hope Greenberg <hope.greenberg@uvm.edu>
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Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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There are several images of working women in the DaCosta Hours who are 
wearing the short sleeve/protective sleeve combo. Here they are:
http://www.uvm.edu/%7Ehag/sca/work/index.html

And as Suzi added, quite a few late 15th century versions of short 
sleeved gowns. Here are some (scroll down to the "kirtle" section). I 
notice this has become a very popular look in SCA/Ren Faire circles.
http://www.uvm.edu/~hag/sca/15th/

I agree with you about that multi-panel skirt--fascinating! Here's a bit 
of a close-up:
http://www.uvm.edu/%7Ehag/sca/15th/weyden2.jpg

(A couple examples of the odd hat as well.)

Though I don't have scans of them, there are a couple non-Italian 15th 
cent. depictions of women in sleeveless gowns. One was either 
Netherlandish or German--a woman attending the birth of the Virgin 
Mary--but I'll have to go look it up.

- Hope


Kimiko wrote:
>> Hmmmm... maybe I am putting 2+3 and getting 7 here, but could this 
>> image below be an example of a short sleeved kirtle with an attached 
>> sleeve?

Suzi Clarke added:
> http://www.wga.hu/frames-e.html?/html/m/michele/index.html
  > And there are several short sleeved garments in paintings by Rogier van
> der Weyden, c. 1450,  one of which clearly shows the pin holding the 
> sleeve on, although this may actually be from the shoulder strap.
> http://www.ibiblio.org/wm/paint/auth/weyden/magdalen.jpg
> The Descent from the Cross (huge, in the Prado in Madrid. She is wearing 
> what looks like a gown made from oblongs of wool - quite fascinating- I 
> spent ages in front of it and still haven't worked it out!). (Also 
> called the Deposition from the Cross)
> http://www.ibiblio.org/wm/paint/auth/weyden/decent.jpg
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Princess Elizabeth
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Quoting otsisto <otsisto@socket.net>:

> Nice site.
> http://www.ninyamikhaila.com/Princesselizabeth.html
> If you go to the purple dress, the all white and cream garment is the
> kirtle.

There's a red version that shows layers as well
http://www.ninyamikhaila.com/eliztower.html

> She seems to have used the kirtle bodice as a corset and boned it. This is
> interesting, I wonder if this is learning from extent garments or theory.

I'm hoping that this is something that she'll address in her book Tudor
Tailor.

http://www.tudortailor.com/

It's supposed to be out this month!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: [h-cost] short sleeved kirtle, air filter hat
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I recently came across this excellent web page covering both of these subjects: 
 
http://www.uvm.edu/~hag/sca/15th/
 
Scroll down to the "kirtle" heading for images of short-sleeved kirtles from just before the Tudor time period. 
 
In the first image of her "transition dress" section, you can see a dress that looks remarkably like a Tudor gown, only the outermost layer has short, fur-lined sleeves and the big bell sleeves are on the underdress. To me, it seems like it would be the next step to wear the big sleeves on the outside and the short-sleeved gown underneath. You can also see that she has a third, narrow sleeve under the other two, which must have evolved into the slashed faux sleeves of the Tudor dress.
 
If you scroll down below that, there's a heading of "Other Headdresses" which includes several other images of the mysterious air filter hat. 
 
Hope this helps!
 
Tea Rose
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Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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Quoting Hope Greenberg <hope.greenberg@uvm.edu>:


>
> I agree with you about that multi-panel skirt--fascinating! Here's a 
> bit of a close-up:
> http://www.uvm.edu/%7Ehag/sca/15th/weyden2.jpg

I've always liked that one.  Looks like it was made from The Remnant Bag
[funny, how all the pieces look alike instead of "patchwork!"  :-)]  It
would be an interesting exercise to do some math on that painting and
come up with a size for those little trapezoids!  Let's see, there's
2.5 from her waist to her knee so that puts them in the 6-8" tall
range.  Reckon that this skirt *was* produced from the cabbage?

>
> Though I don't have scans of them, there are a couple non-Italian 
> 15th cent. depictions of women in sleeveless gowns. One was either 
> Netherlandish or German--a woman attending the birth of the Virgin 
> Mary--but I'll have to go look it up.
>

You'll have to let us know what the paintings are when you get the
information -- they may be online somewher!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] Non-Elizabethan Tudor Corset a Myth! (was
	PrincessElizabeth)
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----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
> While I agree with you, I would love to know the specific documentation 
> you have on this. I am working on an upcoming show and tell lecture for my 
> faire community where I deal with various Ren-faire costuming myths being 
> busted by showing the historical images, if any, or other historical 
> documentation that is available. While this was something I guessed at, it 
> isn't something I've been able to show a "proof" of either way. I would 
> love to be able to do so.


Well, this is going to be the short version! I have a room full of new cloth 
and I want to go sew now! =}

It is largely deductive; it can't help but be, in the absence of some 
document from 1550 saying "I wish mightily that they woulde make alle good 
speed to invent the bloddy corset already, els I will surely bust myne 
seames."

However, the best proof lies in its conspicuous absense in places where it 
certainly should be present if worn.  For example, here's a quote from 
1532-5 by Francois Rabelais:
"Next to the smock they put on the pretty kirtle or vasquin of pure silk 
chamelot; above that went the taffatie or tabi vardingale, of white, red 
tanne, gray or any other colour; above this taffatie petticoat they had 
another of cloth of tissue or brocade, embroidered with fine gold, and 
interlaced with needlework or as they thought good."
Now if they wore corsets, it would surely be listed here, yes?  You find the 
same conspicuous absence in inventories of the day.  Instead, the 
inventories and other accounts of the day DO list what they used instead. 
In the quote above, it is the "pretty kirtle or vasquin" [the vasquine being 
a garment with a stiffened bodice and a skirt].  In an inventory of the era, 
it is: "3 ells white Parchet (fustian) under the bodice at 27 pfund for 
stiffening."  For Katherine of Aragon in her last years, it was "Item, three 
breeste clothis of Hollande cloth with tapis of the same."

Also helpful are descriptions by foreigners of the odd things they found 
while traveling.   Here's a quote from a travelogue by a Spanish courtier 
who accompanied Prince Phillip to England in 1554; I'm including more that 
necessary here, because it's funny, and also useful to anyone dealing with 
this period:
"The Queen, however, is not at all beautiful; small, and rather flabby than 
fat, she is of white complexion and fair, and has no eyebrows.  She is a 
perfect saint, and dresses badly.  All the women here wear petticoats of 
coloured cloth without admixture of silk, and above come coloured robes of 
damask, satin or velvet, very badly cut.  Their shoes are sometimes of 
velvet, but more often of leather, and they wear black stockings and show 
their legs up to the knee when walking.  As their skirts are not long they 
are passably immodest when walking, and even when seated.  They are neither 
beautiful nor graceful when dancing, and their dances only consist in 
strutting or trotting about. Not a single Spanish gentleman has fallen in 
love with one of them nor takes any interest in them, and their feelings for 
us are the same."
Here we get more speculative and deductive; the Spanish almost certainly 
originated the vasquine (described above) and therefore are used to seeing 
firm figures.  In fact, the supported body is called a "spagnolized body" in 
1588.  As one can easily fit over a firm underpinning such as the vasquine 
(or a corset), clothing fit without the benefit of these firm underpinnings 
will indeed look badly cut to a Spanish eye, and a Mary will indeed look 
flabby without support.

The travelogue is also useful in tracking who's got it and who doesn't, when 
it does arrive. For example, a Venetian ambassador visiting France described 
the following in 1577:
"French women have inconcievably narrow waists ...[stuff about 
farthingales].  Over the chemise they wear a corset or bodice, that they 
call a "corps pique" which makes their shape more delicate and more slender. 
It is fastened behind which helps show off the form of the bust."
This tells us that while the French had the corset in 1577, the Venetians 
most likely did not. [Note: the word 'corset' here doesn't mean much, for 
two reasons.  First, this is a translation, and I don't know what word was 
actually used in the original.  Second, 'corset' didn't mean 'corset' in the 
modern sense until around the early 19th century.  More on that below.]

Finally, there's the matter of the amount of notice that corsets attracted 
when they began to be known.  They're commented on, they're preached 
against, they're made fun of in verse, and generally start a noticeable 
buzz.  Earlier, all sorts of fashion innovations are ridiculed; if corsets 
existed in the same places earlier, surely they would be ridiculed there as 
well!  Here's an example:
"These privie coates, by art made strong
with bones, with past, with such like ware
Whereby their backe and sides grow long,
and now they harnest gallants are;
Were they for use against the foe,
Our dames for amazones might goe." (Stephen Gosson, 1596)

>From here, I'll let you look into it, but here's a few tips.  First, if you 
don't already have them, get or check out:
"Corsets and Crinolines" by Norah Waugh
"The Corset: A Cultural History" by Valerie Steele
Neither is absolutely infallible, but both will be very helpful.
Second, watch out for the terminology in inventories, letters, etc.  Like I 
noted above, a corset is not a corset.  A corse isn't one either, for that 
matter. Words and phrases to watch for are:
pair of bodies
petticoat bodies
corps a pique'
French bodice/bodies
privy coat
whalebone bodice/bodies
Third, here is the approximate corset timeline I've worked out.  It's rough 
and I'm doing it by memory rather than looking at my notes, so disclaimer, 
etc.
c1500-20: popularization of the busk [Italian]
c1520: vasquine [Spanish]
c1520-1570: vasquine spreads across Europe; bodices in general are 
stiffened, but do not become a separate garment
c1570-77: separate stiffened bodice [French]
c1580-1590: 'French bodice' infiltrates England


Hope this helps.  You can distribute it/use it for teaching, but please keep 
my name attached!
Elena House 

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My comments are in reference to this site: http://www.ninyamikhaila.com/Princesselizabeth.html

> So what she has is:
> smock
> bodice and wool skirt
> petticoat
> farthingale
> kirtle/corset
> gown.
> Is this correct?
> I have alway thought it was:
> smock (maybe underwear)
> kirtle
> gown

I'm hoping that the _Tudor Tailor_ book that's coming out soon will answer these questions. Based on my perusal of portraits the Farthingale layer is optional -- c1530 most portraits don't show it, however by 1545, the royal family at least is wearing farthingales. Supposedly farthingales were introduced into England by Catharine of Aragon, but they don't seem to have caught on immediately. According to Ninya, "The first farthingale mentioned in England was in the Royal Wardrobe accounts in 1545 for Princess Elizabeth" 

Ninya Mikhaila's site is the only reference I've seen to the odd red bodice/wool skirt/petticoat thing. Awhile ago she had a pdf on her website (which I can no longer find on-line; it was titled "Background and references to the reproduction of the costume worn by
Princess Elizabeth in the 1546 portrait at Windsor" and the name of the pdf was Sources_for_Elizabeth.pdf) that did talk a little about the petticoat:

"It is clear from household accounts of this period that a lady's outfit above her smock consisted of a petticoat, kirtle and gown. Since we are not left with much in the way of visual information to work from there is an amount of conjecture as to exactly how these garments were constructed and what they actually looked like. Petticoats are usually listed as having 'bodies' as well as skirts, interestingly the Petre accounts suggest only one and a quarter yards of cloth for a petticoat. Although cloth was wider than silk it still suggests a fairly skimpy garment. Janet Arnold suggests that the upper part of the petticoat was merely there to keep the skirts up and therefore could be almost as minimal as a
pair of braces. The petticoat we have made to go with this costume has a red taffeta bodice and a red wool skirt. This combination is based on an entry in Mary I accounts for 1554 - '...a peticoate of scarlet, the upper bodyes of crimson tapheta...' Petticoats mentioned in contemporary accounts from Thomasine Petre to Mary I are always red, it may have been thought that some kind of healthful benefit could be derived from wearing red close to the body, one of Henry VIII's physicians advised that scarlet be worn next over the shirt (cunnington 1970, 26)"

The layers Ninya used, as I see it are:

Smock
Red wool/taffeta petticoat 
Farthingale
Kirtle
Gown

Hope that's useful!
	-sunny


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Non-Elizabethan Tudor Corset a Myth! (was
	PrincessElizabeth)
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Quoting E House <formfunc@formfunction.org>:


*snippage*

> Now if they wore corsets, it would surely be listed here, yes?  You 
> find the same conspicuous absence in inventories of the day.  
> Instead, the inventories and other accounts of the day DO list what 
> they used instead. In the quote above, it is the "pretty kirtle or 
> vasquin" [the vasquine being a garment with a stiffened bodice and a 
> skirt].  In an inventory of the era, it is: "3 ells white Parchet 
> (fustian) under the bodice at 27 pfund for stiffening."  For 
> Katherine of Aragon in her last years, it was "Item, three breeste 
> clothis of Hollande cloth with tapis of the same."

So how is "a garment with a stiffened bodice" different from a boned
kirtle, and how is that *fundamentally* different from a corset? (aside 
from the obvious thing that a corset in and of itself doesn't
have an attached skirt -- which is why I said "fundamentally")

Susan
-----
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University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] Princess Elizabeth
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Yes, Mine is on order!!!!
----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 01, 2006 10:40 AM
Subject: RE: [h-cost] Princess Elizabeth


> Quoting otsisto <otsisto@socket.net>:
>
>> Nice site.
>> http://www.ninyamikhaila.com/Princesselizabeth.html
>> If you go to the purple dress, the all white and cream garment is the
>> kirtle.
>
> There's a red version that shows layers as well
> http://www.ninyamikhaila.com/eliztower.html
>
>> She seems to have used the kirtle bodice as a corset and boned it. This 
>> is
>> interesting, I wonder if this is learning from extent garments or theory.
>
> I'm hoping that this is something that she'll address in her book Tudor
> Tailor.
>
> http://www.tudortailor.com/
>
> It's supposed to be out this month!
>
> Susan
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
>
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: h-costume Digest, Vol 5, Issue 207
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Quoting sunshine_buchler@agilent.com:

>
> I'm hoping that the _Tudor Tailor_ book that's coming out soon will 
> answer these questions. Based on my perusal of portraits the 
> Farthingale layer is optional -- c1530 most portraits don't show it, 
> however by 1545, the royal family at least is wearing farthingales. 
> Supposedly farthingales were introduced into England by Catharine of 
> Aragon, but they don't seem to have caught on immediately. According 
> to Ninya, "The first farthingale mentioned in England was in the 
> Royal Wardrobe accounts in 1545 for Princess Elizabeth"
>
> Ninya Mikhaila's site is the only reference I've seen to the odd red 
> bodice/wool skirt/petticoat thing. Awhile ago she had a pdf on her 
> website (which I can no longer find on-line; it was titled 
> "Background and references to the reproduction of the costume worn by
> Princess Elizabeth in the 1546 portrait at Windsor" and the name of 
> the pdf was Sources_for_Elizabeth.pdf) that did talk a little about 
> the petticoat:

google is your friend!  I went and poked around the Internet Archive
(aka The Wayback Machine) with no success and then just googled for the
title!

http://www.ninyamikhaila.com/Images/Sources_for_Elizabeth.pdf

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: RE: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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Is it possible that the lines are woven into the fabric? After all, her
sleeve fabric has very elaborate flowered scroll designs.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan B. Farmer
Sent: Wednesday, March 01, 2006 8:35 AM
To: Historical Costume
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}


Quoting Hope Greenberg <hope.greenberg@uvm.edu>:


>
> I agree with you about that multi-panel skirt--fascinating! Here's a
> bit of a close-up:
> http://www.uvm.edu/%7Ehag/sca/15th/weyden2.jpg

I've always liked that one.  Looks like it was made from The Remnant Bag
[funny, how all the pieces look alike instead of "patchwork!"  :-)]  It
would be an interesting exercise to do some math on that painting and come
up with a size for those little trapezoids!  Let's see, there's 2.5 from her
waist to her knee so that puts them in the 6-8" tall range.  Reckon that
this skirt *was* produced from the cabbage?

>
> Though I don't have scans of them, there are a couple non-Italian
> 15th cent. depictions of women in sleeveless gowns. One was either 
> Netherlandish or German--a woman attending the birth of the Virgin 
> Mary--but I'll have to go look it up.
>

You'll have to let us know what the paintings are when you get the
information -- they may be online somewher!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] Non-Elizabethan Tudor Corset a Myth!
	(wasPrincessElizabeth)
Date: Wed, 1 Mar 2006 21:09:48 +0100
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Bravo!!!!

Bjarne

----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 01, 2006 6:53 PM
Subject: Re: [h-cost] Non-Elizabethan Tudor Corset a Myth! 
(wasPrincessElizabeth)


> ----- Original Message ----- 
> From: "Kimiko Small" <kimiko@kimiko1.com>
>> While I agree with you, I would love to know the specific documentation 
>> you have on this. I am working on an upcoming show and tell lecture for 
>> my faire community where I deal with various Ren-faire costuming myths 
>> being busted by showing the historical images, if any, or other 
>> historical documentation that is available. While this was something I 
>> guessed at, it isn't something I've been able to show a "proof" of either 
>> way. I would love to be able to do so.
>
>
> Well, this is going to be the short version! I have a room full of new 
> cloth and I want to go sew now! =}
>
> It is largely deductive; it can't help but be, in the absence of some 
> document from 1550 saying "I wish mightily that they woulde make alle good 
> speed to invent the bloddy corset already, els I will surely bust myne 
> seames."
>
> However, the best proof lies in its conspicuous absense in places where it 
> certainly should be present if worn.  For example, here's a quote from 
> 1532-5 by Francois Rabelais:
> "Next to the smock they put on the pretty kirtle or vasquin of pure silk 
> chamelot; above that went the taffatie or tabi vardingale, of white, red 
> tanne, gray or any other colour; above this taffatie petticoat they had 
> another of cloth of tissue or brocade, embroidered with fine gold, and 
> interlaced with needlework or as they thought good."
> Now if they wore corsets, it would surely be listed here, yes?  You find 
> the same conspicuous absence in inventories of the day.  Instead, the 
> inventories and other accounts of the day DO list what they used instead. 
> In the quote above, it is the "pretty kirtle or vasquin" [the vasquine 
> being a garment with a stiffened bodice and a skirt].  In an inventory of 
> the era, it is: "3 ells white Parchet (fustian) under the bodice at 27 
> pfund for stiffening."  For Katherine of Aragon in her last years, it was 
> "Item, three breeste clothis of Hollande cloth with tapis of the same."
>
> Also helpful are descriptions by foreigners of the odd things they found 
> while traveling.   Here's a quote from a travelogue by a Spanish courtier 
> who accompanied Prince Phillip to England in 1554; I'm including more that 
> necessary here, because it's funny, and also useful to anyone dealing with 
> this period:
> "The Queen, however, is not at all beautiful; small, and rather flabby 
> than fat, she is of white complexion and fair, and has no eyebrows.  She 
> is a perfect saint, and dresses badly.  All the women here wear petticoats 
> of coloured cloth without admixture of silk, and above come coloured robes 
> of damask, satin or velvet, very badly cut.  Their shoes are sometimes of 
> velvet, but more often of leather, and they wear black stockings and show 
> their legs up to the knee when walking.  As their skirts are not long they 
> are passably immodest when walking, and even when seated.  They are 
> neither beautiful nor graceful when dancing, and their dances only consist 
> in strutting or trotting about. Not a single Spanish gentleman has fallen 
> in love with one of them nor takes any interest in them, and their 
> feelings for us are the same."
> Here we get more speculative and deductive; the Spanish almost certainly 
> originated the vasquine (described above) and therefore are used to seeing 
> firm figures.  In fact, the supported body is called a "spagnolized body" 
> in 1588.  As one can easily fit over a firm underpinning such as the 
> vasquine (or a corset), clothing fit without the benefit of these firm 
> underpinnings will indeed look badly cut to a Spanish eye, and a Mary will 
> indeed look flabby without support.
>
> The travelogue is also useful in tracking who's got it and who doesn't, 
> when it does arrive. For example, a Venetian ambassador visiting France 
> described the following in 1577:
> "French women have inconcievably narrow waists ...[stuff about 
> farthingales].  Over the chemise they wear a corset or bodice, that they 
> call a "corps pique" which makes their shape more delicate and more 
> slender. It is fastened behind which helps show off the form of the bust."
> This tells us that while the French had the corset in 1577, the Venetians 
> most likely did not. [Note: the word 'corset' here doesn't mean much, for 
> two reasons.  First, this is a translation, and I don't know what word was 
> actually used in the original.  Second, 'corset' didn't mean 'corset' in 
> the modern sense until around the early 19th century.  More on that 
> below.]
>
> Finally, there's the matter of the amount of notice that corsets attracted 
> when they began to be known.  They're commented on, they're preached 
> against, they're made fun of in verse, and generally start a noticeable 
> buzz.  Earlier, all sorts of fashion innovations are ridiculed; if corsets 
> existed in the same places earlier, surely they would be ridiculed there 
> as well!  Here's an example:
> "These privie coates, by art made strong
> with bones, with past, with such like ware
> Whereby their backe and sides grow long,
> and now they harnest gallants are;
> Were they for use against the foe,
> Our dames for amazones might goe." (Stephen Gosson, 1596)
>
>>From here, I'll let you look into it, but here's a few tips.  First, if 
>>you
> don't already have them, get or check out:
> "Corsets and Crinolines" by Norah Waugh
> "The Corset: A Cultural History" by Valerie Steele
> Neither is absolutely infallible, but both will be very helpful.
> Second, watch out for the terminology in inventories, letters, etc.  Like 
> I noted above, a corset is not a corset.  A corse isn't one either, for 
> that matter. Words and phrases to watch for are:
> pair of bodies
> petticoat bodies
> corps a pique'
> French bodice/bodies
> privy coat
> whalebone bodice/bodies
> Third, here is the approximate corset timeline I've worked out.  It's 
> rough and I'm doing it by memory rather than looking at my notes, so 
> disclaimer, etc.
> c1500-20: popularization of the busk [Italian]
> c1520: vasquine [Spanish]
> c1520-1570: vasquine spreads across Europe; bodices in general are 
> stiffened, but do not become a separate garment
> c1570-77: separate stiffened bodice [French]
> c1580-1590: 'French bodice' infiltrates England
>
>
> Hope this helps.  You can distribute it/use it for teaching, but please 
> keep my name attached!
> Elena House
> _______________________________________________
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Status: RO

re: the petticoat: Red may well have been a favorite color but it should 
be noted that the term "scarlet" is also a tricky one. At times it has 
referred not to a color but to a type of cloth, generally a really fine 
smooth wool. One of the essays in  Harte, N.B. and K.G. Ponting, "Cloth 
and clothing in medieval Europe : essays in memory of Professor E.M. 
Carus-Wilson" (London: Heinemann Educational Books ; [Edington] : Pasold 
Research Fund, 1983). discusses this but I don't have the book to hand 
to specify which one.

- Hope

>> and references to the reproduction of the costume worn by
>> Princess Elizabeth in the 1546 portrait at Windsor" and the name of 
>> the pdf was Sources_for_Elizabeth.pdf) that did talk a little about 
>> the petticoat:
> 
> http://www.ninyamikhaila.com/Images/Sources_for_Elizabeth.pdf

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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Quoting "Sharon at Collierfam.com" <sharon@collierfam.com>:

> Is it possible that the lines are woven into the fabric? After all, her
> sleeve fabric has very elaborate flowered scroll designs.

I have *no* clue!  It's rows of "alternating" trapezoids -- /\/\/\/\ is
the apparrent arrangement of the pieces

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] Non-Elizabethan Tudor Corset a Myth!
	(wasPrincessElizabeth)
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----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
> So how is "a garment with a stiffened bodice" different from a boned
> kirtle, and how is that *fundamentally* different from a corset? (aside 
> from the obvious thing that a corset in and of itself doesn't
> have an attached skirt -- which is why I said "fundamentally")

Well, it's different, and it's not.  Having a separate garment devoted to 
the stiffening IS an important distinction; think of it in terms of bras. 
Before the bra, there was a garment that provided bust support, but that 
bust support was only a part of a whole garment. So are bras different than 
corsets? Well, yes, and no.  Same basic end; very different means.

While some of the bodices were boned, they seem to have been boned very 
lightly until the last third of the 16thC; most common would have been just 
a busk.  Far more common than boning would have been the use of a slightly 
stiffer fabric, as with the parchet in the inventory I quoted, or at most 
buckram: "...some by wastes of wyre at the paste wyfes hand."  So, though 
they are stiffened, the stiffening is pretty minor; the stiffening effect of 
the bodice isn't likely to be enough to even warrant being made into a 
separate garment.

Also, the skirt is an integral part of the garment not only in terms of 
being actually sewn onto it, but in terms of the function of the whole 
garment.  This whole garment was used to provide the right fundamental shape 
for the style; that style included a firm body, and it included full skirts 
and the illusion of large hips.  When farthingales come into fashion, the 
kirtle or petticoat worn under it performs the important function of 
protecting your legs from drafts.  Attaching that skirt to the bodice is 
important in functional terms; you want both the form-changing bodice part 
and the leg-warming skirt part as close to your body as possible, because 
they work best and are most comfortable that way.

The whole garment is a solution to a specific body-shaping problem; a 
problem which has been solved in different ways over the centuries, and 
which must be solved in different ways the desired body shape changes over 
time.  In the 13thC, the solution was breast-wrapping; in the 14th, it was 
the GFD; in the 15th, it was both a later version of the GFD and an early 
version of the bodice-skirt kirtle; in the early 16th, it was the vasquine 
and farthingale; in the late 16th, it was the payre of bodyes and 
farthingale. In the 17th it was high waist lines then boned bodices; in the 
18th it was stays and panniers; in the 19th it was corsets and hoops; in the 
20th & 21st it is bras and bike shorts.  So are they all fundamentally 
different?  Yes.  No.  Both!  Same basic end; very different means.

-E House
(Help! I've been answering emails from various sources for 5 and a half 
hours! Must stop while still have brain!) 

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPKEKNFPAA.otsisto@socket.net>
Subject: Re: [h-cost] Princess Elizabeth
Date: Thu, 2 Mar 2006 10:14:22 +1100
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<snip>
> As far as I know the kirtle from this period does not have short sleeves 
> but
> this doesn't mean there wasn't some with short sleeves. Does your source 
> for
> short sleeve kirtles state where one can find the it? I would be 
> interested.
> Hope all this makes sense.
> De
> Recovering from bronchitis so brain not quite pass first gear.

I'm probably the one who gave her the idea of a short sleeved kirtle 
http://au.geocities.com/e_walpole/kirtle/kirtle.htm I don't have direct 
evidence of short sleeved kirtles worn with this gown. It's really 
conjecture based on some early 16th century and late 15th century pictures 
of working women with short sleeved kirtles (mainly the Da Costa Hours here 
http://www.uvm.edu/~hag/sca/work/) and the fact that it's the most effective 
way of attaching the false sleeves that I have tried so far.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost] Princess Elizabeth
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I couldn't remember who stated the information of short sleeve kirtle. I 
kept some and mostly didn't keep the contact information, just the messages.
Thanks for the link. I will note it and put it in my files.
----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 01, 2006 6:14 PM
Subject: Re: [h-cost] Princess Elizabeth


> <snip>
>> As far as I know the kirtle from this period does not have short sleeves 
>> but
>> this doesn't mean there wasn't some with short sleeves. Does your source 
>> for
>> short sleeve kirtles state where one can find the it? I would be 
>> interested.
>> Hope all this makes sense.
>> De
>> Recovering from bronchitis so brain not quite pass first gear.
>
> I'm probably the one who gave her the idea of a short sleeved kirtle 
> http://au.geocities.com/e_walpole/kirtle/kirtle.htm I don't have direct 
> evidence of short sleeved kirtles worn with this gown. It's really 
> conjecture based on some early 16th century and late 15th century pictures 
> of working women with short sleeved kirtles (mainly the Da Costa Hours 
> here http://www.uvm.edu/~hag/sca/work/) and the fact that it's the most 
> effective way of attaching the false sleeves that I have tried so far.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/e_walpole/
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] The Prado Magdalen's skirt (was: short sleeved kirtle)
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On Wed, 1 Mar 2006, Susan B. Farmer wrote:

> I have *no* clue!  It's rows of "alternating" trapezoids -- /\/\/\/\
> is the apparrent arrangement of the pieces

Actually, the trapezoids do not alternate. They are all placed with the
short side up, so that they contribute to the flare of the skirt. (This is
much clearer in person, on the painting, than in any reproduction.) The
trapezoidal shape becomes less pronounced further down the skirt, where
the shapes are both larger and closer to rectangular.

There are I think five trapezoid rows, separated by horizontal strips
(four in all) maybe two inches wide, forming essentially an alternating
tiered pattern of stitching. There are also strips placed vertically
alongside the lacing opening.

We have had long discussions of this on the list before ... let's see,
here's a post I wrote on July 26, 2002:

http://sca.uwaterloo.ca/Fashion/index.cgi?l=hcos02&s=15th%20century%20female%20dress&Cmd=Match+2

This wasn't the first time we talked about this. Aha, here's an earlier
thread, from January 2000:

http://sca.uwaterloo.ca/Fashion/index.cgi?s=van+der+Weden+&l=hcos00

See in particular my post on Jan. 23, and the ones following that, which
is where we talk about the skirt. But IIRC we also talk about pin-on
sleeves and the "Fram air filter" hat in that thread. (Both of those
topics keep coming up, every year or so, as the list population changes
and new people come in.)

The theory about the skirt that I find most interesting was, I think,
Teddy's: That these may not be separate pieces of fabric arranged
together, but rather stitching lines from the fur lining.

--Robin



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Subject: RE: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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More short sleeved 15th century images....

http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100001&I=000017
(parent page http://gallica.bnf.fr/scripts/Notice.php?O=08100001)

http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100062&I=000003
(parent page http://gallica.bnf.fr/scripts/Notice.php?O=08100062)

http://classes.bnf.fr/ema/grands/399.htm

http://classes.bnf.fr/ema/grands/ca066.htm

http://classes.bnf.fr/ema/feuils/ages/index2.htm

http://classes.bnf.fr/ema/grands/182.htm

Good luck...

-annette
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Hope Greenberg
Sent: Wednesday, March 01, 2006 8:42 AM
To: Historical Costume
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}

There are several images of working women in the DaCosta Hours who are 
wearing the short sleeve/protective sleeve combo. Here they are:
http://www.uvm.edu/%7Ehag/sca/work/index.html

And as Suzi added, quite a few late 15th century versions of short 
sleeved gowns. Here are some (scroll down to the "kirtle" section). I 
notice this has become a very popular look in SCA/Ren Faire circles.
http://www.uvm.edu/~hag/sca/15th/

I agree with you about that multi-panel skirt--fascinating! Here's a bit

of a close-up:
http://www.uvm.edu/%7Ehag/sca/15th/weyden2.jpg

(A couple examples of the odd hat as well.)

Though I don't have scans of them, there are a couple non-Italian 15th 
cent. depictions of women in sleeveless gowns. One was either 
Netherlandish or German--a woman attending the birth of the Virgin 
Mary--but I'll have to go look it up.

- Hope


Kimiko wrote:
>> Hmmmm... maybe I am putting 2+3 and getting 7 here, but could this 
>> image below be an example of a short sleeved kirtle with an attached 
>> sleeve?

Suzi Clarke added:
> http://www.wga.hu/frames-e.html?/html/m/michele/index.html
  > And there are several short sleeved garments in paintings by Rogier
van
> der Weyden, c. 1450,  one of which clearly shows the pin holding the 
> sleeve on, although this may actually be from the shoulder strap.
> http://www.ibiblio.org/wm/paint/auth/weyden/magdalen.jpg
> The Descent from the Cross (huge, in the Prado in Madrid. She is
wearing 
> what looks like a gown made from oblongs of wool - quite fascinating-
I 
> spent ages in front of it and still haven't worked it out!). (Also 
> called the Deposition from the Cross)
> http://www.ibiblio.org/wm/paint/auth/weyden/decent.jpg
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Question (sort of) - if you have a query about something on Ninya's site, why 
don't you e-mail her and ask?

Only say that cos I've seen questions about my own stuff on assorted lists 
before and felt the need to point out that they could have just asked me...:-)

Debs

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Could someone either describe or point me to a picture of an Alexandrian cap?  I've googled to no avail.
   
  Thank you!
  KP
   

			
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Alexandrian cap
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Would it not be a Phrygian style hat?

-----Original Message-----
Could someone either describe or point me to a picture of an Alexandrian
cap?  I've googled to no avail.

  Thank you!
  KP


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Subject: RE: [h-cost] Alexandrian cap
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Alas, that helps me not -- what does a Phrygian style hat look like?  : )
   
  

otsisto <otsisto@socket.net> wrote:
  Would it not be a Phrygian style hat?

-----Original Message-----
Could someone either describe or point me to a picture of an Alexandrian
cap? I've googled to no avail.

Thank you!
KP


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Date: Thu, 2 Mar 2006 00:02:08 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: RE: [h-cost] Alexandrian cap
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      Kind of like a Smurf hat...

      It's soft and fits to the head, except for a tip at the top that 
tends to point or lie forward.

      -Carol


>Alas, that helps me not -- what does a Phrygian style hat look like?  : )
>
>
>otsisto <otsisto@socket.net> wrote:
>   Would it not be a Phrygian style hat?
>
>-----Original Message-----
>Could someone either describe or point me to a picture of an Alexandrian
>cap? I've googled to no avail.
>
>Thank you!
>KP
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Date: Thu, 02 Mar 2006 00:03:46 -0500
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Alexandrian cap
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Quoting Kathryn Parke <kjp1685@yahoo.com>:

> Alas, that helps me not -- what does a Phrygian style hat look like?  : )
>

google image search is your friend
http://images.google.com/images?svnum=10&hl=en&lr=&q=phrygian+hat&btnG=Search

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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In a message dated 2/28/2006 5:50:01 PM Eastern Standard Time, 
sfarmer@goldsword.com writes:

> I'm not sure what a "block" is.  Is that the same thing as a muslin?
> 

What we used to in school call a "sloper". What some pattern companies call a 
"fitting shell".
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I shoulda known that my ASCII art would get messed up in 
translation.  Oh, well.
I have about 8 pairs of the Land's End cotton knit pants.  Love 
them.  I've totally worn out at least 5 pair.  Or, I DID love them, 
till they changed the sizing.  Now even the talls are too short and 
the crotch length is too - I hate it when the pants are hip-huggers 
when they're not supposed to be.....

Sandy

At 01:45 AM 2/28/2006, you wrote:

>Date: Mon, 27 Feb 2006 23:12:22 -0500
>From: Catherine Olanich Raymond <cathy@thyrsus.com>
>Subject: Re: [h-cost] sizing/quality of clothing
>
>I'm 5' 1", and I've always had the same problem with pants until Lands' End
>changed its sizing.  :-)
>Cathy Raymond <cathy@thyrsus.com>
>
>
>Date: Mon, 27 Feb 2006 20:17:47 -0800
>From: "Sharon at Collierfam.com" <sharon@collierfam.com>
>Subject: RE: [h-cost] sizing/quality of clothing
>
>Ditto. When I was in high school I had a 24" waist and 40" hips. Thank
>goodness I've found Lands End. They have cotton knit, elastic waist pants,
>in petite and tall, too. Sharon

"Those Who Fail To Learn History
Are Doomed to Repeat It;
Those Who Fail To Learn History Correctly --
Why They Are Simply Doomed.

Achemdro'hm
"The Illusion of Historical Fact"
  -- C.Y. 4971

Andromeda  


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At 07:41 AM 2/28/2006, you wrote:
> >
> > Mistress Aspasia, do you (or anybody else for that matter) know more
> > about the painting that this detail is from?
>
>
>I would have to research it and right now my husband is creating a series of
>internet classes for St. Leo University.  I have to sneak in time to even
>check my email. I know the lady is 16th c. English...I think the Countess of
>Hardwick.  The others I will have to check.  I have care of  3 yr old and 6
>yr old foster daughters that I have to keep a close eye on, so can't get too
>distracted when I'm alone with them.  I will try.  Maybe someone else can
>find them sooner.
>
>Aspasia Moonwind

The sitter is the Elizabeth, Lady Cavendish, later the Countess of 
Shrewsbury (better known as Bess of Hardwick).  The portrait is dated 
c. 1557.  There is a lovely reproduction of it on page 8 of 
"Elizabethan Treasures: The Hardwick Hall Textiles" by Santina M. Levey.


Joan Jurancich
joanmj@surewest.net 

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From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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At 04:44 AM 3/1/2006, you wrote:
>I don't know about the short sleeves but she is whacking linen. I 
>saw a demonstration at my weaving guild and it was just like that. 
>I'm not familar with the term for the technique.

Probably "breaking" flax.


Joan Jurancich
joanmj@surewest.net 

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Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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At 01:54 AM 3/1/2006, you wrote:
>I realise these are not 16th century, but short sleeves kirtles were 
>obviously worn earlier, so is it possibly that the fashion could have 
>continued in the later period?
>
>Suzi


Thank you Suzi for sharing those links. I can only presume that such 
fashions would continue and evolve into the next century, but I don't know 
how much of a leap that really is.

Kimiko


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At 07:49 AM 3/1/2006, you wrote:
>I recently came across this excellent web page covering both of these 
>subjects:
>
>http://www.uvm.edu/~hag/sca/15th/


Thank you Tea Rose for that. I am not as familiar with images or styles of 
the century preceding, so that is a great help.

Kimiko


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It's also reproduced in "The Art of Dress", where it's attributed to a follower of Hans Eworth. No explanation is offered for the inscription "Maria Regina".


Kate Bunting
Librarian and 17th century reenactor

>>> joanmj@surewest.net 02/03/2006 07:00 >>>
At 07:41 AM 2/28/2006, you wrote:
> >
> > Mistress Aspasia, do you (or anybody else for that matter) know more
> > about the painting that this detail is from?
>
>
>I would have to research it and right now my husband is creating a series of
>internet classes for St. Leo University.  I have to sneak in time to even
>check my email. I know the lady is 16th c. English...I think the Countess of
>Hardwick.  The others I will have to check.  I have care of  3 yr old and 6
>yr old foster daughters that I have to keep a close eye on, so can't get too
>distracted when I'm alone with them.  I will try.  Maybe someone else can
>find them sooner.
>
>Aspasia Moonwind

The sitter is the Elizabeth, Lady Cavendish, later the Countess of 
Shrewsbury (better known as Bess of Hardwick).  The portrait is dated 
c. 1557.  There is a lovely reproduction of it on page 8 of 
"Elizabethan Treasures: The Hardwick Hall Textiles" by Santina M. Levey.


Joan Jurancich
joanmj@surewest.net 

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Subject: Re: RE: [h-cost] Princess Elizabeth
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I have written to her. She answered me quickly and said I could ask anytime. 
I just thought I'd pose a question to other costumers on the discussion 
boards.
It really doesn't matter, but I can make the Princess Elizabeth garb now 
with confidence.
----- Original Message ----- 
From: <Debloughcostumes@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, March 01, 2006 8:31 PM
Subject: Re: RE: [h-cost] Princess Elizabeth


>
> Question (sort of) - if you have a query about something on Ninya's site, 
> why
> don't you e-mail her and ask?
>
> Only say that cos I've seen questions about my own stuff on assorted lists
> before and felt the need to point out that they could have just asked 
> me...:-)
>
> Debs
>
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Subject: Re: [h-cost] Waists, waists, waists
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Cynthia Virtue wrote:

> 
> 
> The waist would be a horizontal oval intersecting those points, right? 
> Not a shape which dips down from the horizontal while intersecting those 
> points.
> 
> I have to roll the front waistband of off-the-rack skirts so that the 
> hem hangs horizontal because of this.  If I had the time, I'd hem the 
> skirts properly.

If you really want the skirts to hang properly do as the women of the 
victorian age did and take the excess off of the top of the skirt and 
not the bottom.   That way the grainline is still horizontal at the 
bottom and the excess is taken off of the top, where the problem is... 
This keeps the vertical grainline straight all around.

Kitty in SW PA  USA


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Subject: Re: [h-cost] Waists, waists, waists
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Megan M. wrote:
> I think it is more common than you think - I have the same issue.  The
> waistbands on my scrubs come up almost to my bra in front.  And I don't know
> why they cut them so high.  *sigh*  I guess that's why I like to sew.
> -Megan
> 
> for most of us it isn't the clothing which is cut high.  it is our 
waists which have fallen in front.  It happens when we have a bit to 
much tissue in front and weak stomach muscles allow it to fall, it 
creates a sway back which allows the waist to point downward in front.

Kitty, who has done too many alterations for this problem.

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Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
Date: Thu, 2 Mar 2006 11:58:20 +1300
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> > Is it possible that the lines are woven into the fabric? After all, her
> > sleeve fabric has very elaborate flowered scroll designs.
>
> I have *no* clue!  It's rows of "alternating" trapezoids -- /\/\/\/\ is
> the apparrent arrangement of the pieces

It's quite likely the shapes are caused by the fur lining. The fur would
have to be pieced.Why they show through.... who knows.

This was discussed somewhere.. I think the MedCos community.

michaela de bruce
http://glittersweet.com



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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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At 20:20 01/03/2006, you wrote:
>Quoting "Sharon at Collierfam.com" <sharon@collierfam.com>:
>
>>Is it possible that the lines are woven into the fabric? After all, her
>>sleeve fabric has very elaborate flowered scroll designs.
>
>I have *no* clue!  It's rows of "alternating" trapezoids -- /\/\/\/\ is
>the apparrent arrangement of the pieces
>
>Susan
>-----
>Susan Farmer
>sfarmer@goldsword.com
>University of Tennessee
>Department of Ecology and Evolutionary Biology
>http://www.goldsword.com/sfarmer/Trillium/



That isn't the impression I got standing in front of it for ages last 
summer - it seemed almost to be a heavy wool type fabric. I longed to 
ask her to step down from the painting a minute and let me see.

Suzi 


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Quoting Robin Netherton <robin@shell.nightowl.net>:

>
> On Wed, 1 Mar 2006, Susan B. Farmer wrote:
>
>> I have *no* clue!  It's rows of "alternating" trapezoids -- /\/\/\/\
>> is the apparrent arrangement of the pieces
>
> Actually, the trapezoids do not alternate. They are all placed with the
> short side up, so that they contribute to the flare of the skirt. (This is
> much clearer in person, on the painting, than in any reproduction.) The
> trapezoidal shape becomes less pronounced further down the skirt, where
> the shapes are both larger and closer to rectangular.

You know, of course, that you're right!  I looked again.  I'm thinking
that I"ve got a book that has a Really Good Copy of that painting, but
I'm not finding it.  I'm pretty sure that it's in the book on Campin. 
The authors (Thurleman -- u with an umlaut) present their case that
it's actually Campin and not Weyden that is the painter here.

If you're an Or Nue fan -- it is believed that Campin did the cartoons
for the Vestments for the Order of the Golden Fleece -- and there are
some **AWESOME** enlargements in this book of some of those figures.

>
> We have had long discussions of this on the list before ... let's see,
> here's a post I wrote on July 26, 2002:

Cool!  Thanks for the links.  That was before I joined this list.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPKEKNFPAA.otsisto@socket.net><BAY101-DAV5D5C848D968D610EF7B2BBCF70@phx.gbl><6.2.1.2.0.20060301010319.03760f70@64.87.54.245><6.2.3.4.0.20060301093224.01d81dc0@127.0.0.1><4405A4BF.3030107@uvm.edu>
	<20060301113454.bne6ffafm57sokcc@www.goldsword.com>
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
Date: Wed, 1 Mar 2006 19:37:03 -0700
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Uh...I don't think it's a matter of cabbaging, if that's a word? ;o) I bet
it's indicative of a fur lining.  Several other paintings on that website
depict fur-lined gowns/skirts, and have similar lines on the skirts.  We've
talked about something similar before (the painting's one of the ones on the
website, which is what made me think "hmmm.....I wonder...."
--sue (from montana)

----- Original Message -----
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 01, 2006 9:34 AM
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}


> Quoting Hope Greenberg <hope.greenberg@uvm.edu>:
>
>
> >
> > I agree with you about that multi-panel skirt--fascinating! Here's a
> > bit of a close-up:
> > http://www.uvm.edu/%7Ehag/sca/15th/weyden2.jpg
>
> I've always liked that one.  Looks like it was made from The Remnant Bag
> [funny, how all the pieces look alike instead of "patchwork!"  :-)]  It
> would be an interesting exercise to do some math on that painting and
> come up with a size for those little trapezoids!  Let's see, there's
> 2.5 from her waist to her knee so that puts them in the 6-8" tall
> range.  Reckon that this skirt *was* produced from the cabbage?
>
> >
> > Though I don't have scans of them, there are a couple non-Italian
> > 15th cent. depictions of women in sleeveless gowns. One was either
> > Netherlandish or German--a woman attending the birth of the Virgin
> > Mary--but I'll have to go look it up.
> >
>
> You'll have to let us know what the paintings are when you get the
> information -- they may be online somewher!
>
> Susan


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Subject: Re: [h-cost] Non-Elizabethan Tudor Corset a Myth! (was
	PrincessElizabeth)
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At 09:53 AM 3/1/2006, you wrote:
>Well, this is going to be the short version! I have a room full of new 
>cloth and I want to go sew now! =}

Hey, I don't blame you. I hope you got in some good sewing time.

<snip some great info. Thanks>
>Hope this helps.  You can distribute it/use it for teaching, but please 
>keep my name attached!
>Elena House


I really appreciate your time in explaining all of that. It's a lot to 
digest, but I am ok with that. I eagerly await your long version when you 
have the time. And I will check the "The Corset: A Cultural History" by 
Valerie Steele book. I already have Corsets & Crinolines, and will re-read 
it (which I haven't done in a long while). And I will definitely give you 
credits in my lecture.

Thank you again,

Kimiko


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: [h-cost] Partly OT: Stains on table linen
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My mother has had to go into a nursing home and I'm clearing her house. I've found numerous tablecloths and napkins, some quite old and interesting, a lot of which have food stains on. I've washed them with Vanish (if you don't have that in the US, it's a new oxygen-based stain remover) but it doesn't get everything out. I don't want to bleach antique or coloured items. Suggestions, anyone?

Kate Bunting
Librarian and 17th century reenactor


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Danielle Nunn-Weinberg wrote:
> At 02:12 PM 6/28/2005 -0400, you wrote:
> 
> <snip>
> 
>> I have to roll the front waistband of off-the-rack skirts so that the 
>> hem hangs horizontal because of this.  If I had the time, I'd hem the 
>> skirts properly.
>>
>> -- 
>> Cynthia Virtue and/or Cynthia du Pre Argent
> 
> 
> You know, you're the first person I've ever heard of that has that 
> problem, like me.  I cannot buy trousers to fit, the waistband sits in 
> the correct place in the back half of me but I have to fold over the top 
> of the front of the trousers.  Usually at least by the width of the 
> waistband, sometimes more.
> 
> Cheers,
> Danielle
> 

If there are no rivets at the waistband, take the waistband off at the 
front, cut the front down the appropriate amount at the CF tapering to 
nothing at the sides, and reapply the waistband.  you may have to ease a 
bit of excess fabric in or make pleats on each side, but fabric, being 
made of threads, usually is fairly easy to ease in, (work extra fabric 
into a seam so it doesn't show that there is extra fabric on one side of 
the seam compared to the other).

Kitty

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From: ruthanneb@mindspring.com
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Alexandrian cap
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I was disappointed that, among all these images of the Phrygian or "liberty" cap, Google did NOT find the college seal of my alma mater, Dickinson College (est. 1773, Carlisle, PA). Our seal has three objects: a telescope, a Bible, and the Phrygian cap, along with the motto that we are the fortress of liberty!
http://www.dickinson.edu/logo/faq10.html
Costume-related: Is Dickinson the only college with an article of clothing in its heraldry?
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer
Dickinson Class of '68

-----Original Message-----
>From: "Susan B. Farmer" <sfarmer@goldsword.com>
>Sent: Mar 2, 2006 12:03 AM
>To: Historical Costume <h-costume@indra.com>
>Subject: RE: [h-cost] Alexandrian cap
>
>Quoting Kathryn Parke <kjp1685@yahoo.com>:
>
>> Alas, that helps me not -- what does a Phrygian style hat look like?  : )
>>
>
>google image search is your friend
>http://images.google.com/images?svnum=10&hl=en&lr=&q=phrygian+hat&btnG=Search
>
>Susan
>-----
>Susan Farmer
>sfarmer@goldsword.com
>University of Tennessee
>Department of Ecology and Evolutionary Biology
>http://www.goldsword.com/sfarmer/Trillium/
>
>
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Re: Quality of clothing
Date: Thu, 2 Mar 2006 10:34:55 -0500
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Sandy-

Tell them you don't like the change.
Can't hurt and they might actually listen to a customer.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 2, 2006, at 12:34 AM, Pierre & Sandy Pettinger wrote:

> I shoulda known that my ASCII art would get messed up in translation.  
> Oh, well.
> I have about 8 pairs of the Land's End cotton knit pants.  Love them.  
> I've totally worn out at least 5 pair.  Or, I DID love them, till they 
> changed the sizing.  Now even the talls are too short and the crotch 
> length is too - I hate it when the pants are hip-huggers when they're 
> not supposed to be.....
>
> Sandy
>
> At 01:45 AM 2/28/2006, you wrote:
>
>> Date: Mon, 27 Feb 2006 23:12:22 -0500
>> From: Catherine Olanich Raymond <cathy@thyrsus.com>
>> Subject: Re: [h-cost] sizing/quality of clothing
>>
>> I'm 5' 1", and I've always had the same problem with pants until 
>> Lands' End
>> changed its sizing.  :-)
>> Cathy Raymond <cathy@thyrsus.com>
>>
>>
>> Date: Mon, 27 Feb 2006 20:17:47 -0800
>> From: "Sharon at Collierfam.com" <sharon@collierfam.com>
>> Subject: RE: [h-cost] sizing/quality of clothing
>>
>> Ditto. When I was in high school I had a 24" waist and 40" hips. Thank
>> goodness I've found Lands End. They have cotton knit, elastic waist 
>> pants,
>> in petite and tall, too. Sharon
>
> "Those Who Fail To Learn History
> Are Doomed to Repeat It;
> Those Who Fail To Learn History Correctly --
> Why They Are Simply Doomed.
>
> Achemdro'hm
> "The Illusion of Historical Fact"
>  -- C.Y. 4971
>
> Andromeda
>
> _______________________________________________
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Subject: Re: [h-cost] Redwork
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Quoting Kate M Bunting <K.M.Bunting@derby.ac.uk>:

> It's also reproduced in "The Art of Dress", where it's attributed to 
> a follower of Hans Eworth. No explanation is offered for the 
> inscription "Maria Regina".
>
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> joanmj@surewest.net 02/03/2006 07:00 >>>
> At 07:41 AM 2/28/2006, you wrote:
>> >
>> > Mistress Aspasia, do you (or anybody else for that matter) know more
>> > about the painting that this detail is from?
                                  ^^^^^^

Oops, sorry; yall misunderstood -- I meant the *detail* of the painting
where Christ is carrying the cross is from.  The other two were full
portraits, so I made the obviously invalid assumption that the word
"detail" would be enough information.  My bad.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] short sleeved kirtle {was Princess Elizabeth}
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On Thu, 2 Mar 2006, michaela wrote:

> It's quite likely the shapes are caused by the fur lining. The fur
> would have to be pieced.Why they show through.... who knows.
> 
> This was discussed somewhere.. I think the MedCos community.

No, here; see my note under a new subject line.

--Robin

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Partly OT: Stains on table linen
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Kate M Bunting wrote:

> My mother has had to go into a nursing home and I'm clearing her house. I've found numerous tablecloths and napkins, some quite old and interesting, a lot of which have food stains on. I've washed them with Vanish (if you don't have that in the US, it's a new oxygen-based stain remover) but it doesn't get everything out. I don't want to bleach antique or coloured items. Suggestions, anyone?
> 

Hydrogen peroxide is pretty mild, but if the oxy-stuff didn't work you 
may not have luck with this either.

Tried sun-bleaching it?


Dawn


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Waists, waists, waists
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Greetings--

> Danielle Nunn-Weinberg wrote:
>> At 02:12 PM 6/28/2005 -0400, you wrote:
>>
>> <snip>
>>
>>> I have to roll the front waistband of off-the-rack skirts so that 
>>> the hem hangs horizontal because of this.  If I had the time, I'd 
>>> hem the skirts properly.
>>>
>>> -- 
>>> Cynthia Virtue and/or Cynthia du Pre Argent
>>
>>
>> You know, you're the first person I've ever heard of that has that 
>> problem, like me.  I cannot buy trousers to fit, the waistband sits 
>> in the correct place in the back half of me but I have to fold over 
>> the top of the front of the trousers.  Usually at least by the width 
>> of the waistband, sometimes more.
>>

What's been a lifesaver for me lately are the pants they're selling with 
the lowered waistbands.  I'm not talking hip-huggers---I've found that 
the "Ann" and "Marisa" styles at Ann Taylor Loft, both of which are cut 
slightly below the natural waist, fit me wonderfully and take care of 
that rolling waistband issue. 

Susan
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Subject: [h-cost] slightly O-T greetings of the (passing) season
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Hello the list--

My truelove has kindly given me parking space on his website for the photo I took after our FIRST snowfall of the season and intended as a greeting card for the h-cost list. Today we're having what MIGHT be the last snowfall of the season.

Who would expect in a modest little neighborhood in Fairfield Connecticut to drive around the corner and find a pair of snowpersons one of whom was wearing a HENNIN? I assume a little girl wanted to give her Hallowe'en costume one more day to shine....Anyway, with the homeowner's permission I took a photo of Snow Maiden and Swain.

Go to 
http://www.doingagatha.com/
and scroll down to the photo at the lower left, just over the "Out of Pocket Productions" paragraph. He'll keep this on the page for a week or so, and I hope you see and enjoy it.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

p.s. Doing Agatha is an independent film written and produced by my truelove and soon (oh god please!) to be released. We are NOT using the h-cost list to promote the film; I don't have a website of my own to post pictures. Of course I do imagine you'll be amused and fascinated by the costuming in the film photo.... RAB
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Subject: [h-cost] Fit of a victorian bodice
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Hi, I'm making an 1865-70 bodice (first bustle era) starting from the Truly Victorian ball bodice pattern, and I'm having trouble with the fit around the armholes -- there's a horizontal stress line about 1/2" above the bottom of the armhole (right at the top of my corset) it extends about 3" into the bust, and about the same length across the back. I'm not sure how to get rid of it -- the rest of the bodice fits beautifully... I also had this problem on my princess-line tea gown using their pattern... But I thought it was due to the weight of the fabric, but that can't be the case for my current bodice... Does anyone have any suggestions for how to handle this fitting problem? Should I make the armhole bigger (and if so, should it be lower side front, lower side back, or the bottom? I'm afraid if I widen the armhole it'll just pull the armhole out of shape due to the pull...) should I let the side seam out a little bit? I thought about putting padding inside the bodice ther!
 e, but there is very little room... And the bodice is satin so it shows every little crinkle or dent - unfortunately you can even follow the line of the lace on the chemise if you look closely.

Does anyone have any suggestions?
	Thank you,
		-sunny

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Subject: [h-cost] re: Partly OT: Stains on table linen
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>My mother has had to go into a nursing home and I'm clearing her
house. I've >found numerous tablecloths and napkins, some quite old
and interesting, a lot of >which have food stains on. I've washed them
with Vanish (if you don't have that in >the US, it's a new
oxygen-based stain remover) but it doesn't get everything out. I
>don't want to bleach antique or coloured items. Suggestions, anyone?

Kate
I collect, some whom I live with, would say "amass" vintage linens,
quilts & unmentionables.  Mostly I use baby soap, or whatever you wash
your favorite sweaters in. If really done in, a gentle bleaching
detergent. Air dry. Repeat until happy. When you finally get it clean
enough, hot press those beautiful crisp folds & store them away.

I would start with the gentlest treatment first on the most
"replaceable" or hopeless item.  See what happens.  Work your way up
to gentle, warm water & the oxy cleaner.  You will probably never get
the "foxing" out (those rust colored stains). Foxing can be caused by
contact with acidic stuff (like wood, common paper and food debris)
among other things.

No sure how old "quite old" is but if really, really old, then you
might want to stop at the cold, clear water rinse or cold water
gentlest soap so that colors dont run.

Truly magnificent items should be taken to a professional.   My spare
mom gave me two heavily embroidered unused gigantic table cloths,
buffet cloth & each with 12 napkins each all with the original gift
card as given to her mother.  She said, "My mother stored this for 40
years. I have stored it for 40 years. Now it's your turn."  I havent
dared use it, but if I do, it's to serve white wine, dry foods with
brush-away crumbs, no grease and it goes to the pros afterwards.
<grin>

To prevent or postpone future foxing, line your linen storage in
buffered papers.  I just use an old cotton sheet as the bottom layer
in my cedar closet.

Some items are truly hopelessly stained, moth eaten or torn and I'm
not above recycling them into something else like a supportasse collar
or petticoat.  I have one of each made from a previous pillow case &
table linen respectively.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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From h-costume-bounces@indra.com  Thu Mar  2 14:37:41 2006
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From: ruthanneb@mindspring.com
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re: Partly OT: Stains on table linen
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I just ran down to the basement to copy the label for this product-- 
I've had good luck with it but have used it on only two pieces, so I can't say I've done exhaustive testing!
It's called RESTORATION,
and it claims "Revives color and freshness to antique linens...removes most stains."
Manufactured by Engleside Products of Lancaster, PA.
"No acids, chlorine, or phosphates. Safe for all fabrics and colors. Environmentally safe."

I followed the directions on the label and was pleased with the results.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
>From: Cin <cinbarnes@gmail.com>
>Sent: Mar 2, 2006 2:19 PM
>To: h-cost <h-costume@indra.com>
>Subject: [h-cost] re: Partly OT: Stains on table linen
>
>>My mother has had to go into a nursing home and I'm clearing her
>house. I've >found numerous tablecloths and napkins, some quite old
>and interesting, a lot of >which have food stains on. I've washed them
>with Vanish (if you don't have that in >the US, it's a new
>oxygen-based stain remover) but it doesn't get everything out. I
>>don't want to bleach antique or coloured items. Suggestions, anyone?
>
>Kate
>I collect, some whom I live with, would say "amass" vintage linens,
>quilts & unmentionables.  Mostly I use baby soap, or whatever you wash
>your favorite sweaters in. If really done in, a gentle bleaching
>detergent. Air dry. Repeat until happy. When you finally get it clean
>enough, hot press those beautiful crisp folds & store them away.
>
>I would start with the gentlest treatment first on the most
>"replaceable" or hopeless item.  See what happens.  Work your way up
>to gentle, warm water & the oxy cleaner.  You will probably never get
>the "foxing" out (those rust colored stains). Foxing can be caused by
>contact with acidic stuff (like wood, common paper and food debris)
>among other things.
>
>No sure how old "quite old" is but if really, really old, then you
>might want to stop at the cold, clear water rinse or cold water
>gentlest soap so that colors dont run.
>
>Truly magnificent items should be taken to a professional.   My spare
>mom gave me two heavily embroidered unused gigantic table cloths,
>buffet cloth & each with 12 napkins each all with the original gift
>card as given to her mother.  She said, "My mother stored this for 40
>years. I have stored it for 40 years. Now it's your turn."  I havent
>dared use it, but if I do, it's to serve white wine, dry foods with
>brush-away crumbs, no grease and it goes to the pros afterwards.
><grin>
>
>To prevent or postpone future foxing, line your linen storage in
>buffered papers.  I just use an old cotton sheet as the bottom layer
>in my cedar closet.
>
>Some items are truly hopelessly stained, moth eaten or torn and I'm
>not above recycling them into something else like a supportasse collar
>or petticoat.  I have one of each made from a previous pillow case &
>table linen respectively.
>
>--cin
>Cynthia Barnes
>CinBarnes@gmail.com
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
_______________________________________________
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Subject: Re: [h-cost] re: Partly OT: Stains on table linen
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In a message dated 3/2/2006 2:26:58 P.M. Eastern Standard Time,  
cinbarnes@gmail.com writes:

I  havent
dared use it, but if I do, it's to serve white wine, dry foods  with
brush-away crumbs, no grease and it goes to the pros  afterwards.
<grin>




I would stick to sparkling water--even white wine can stain!
 
Ann Wass
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Cin wrote:
> To prevent or postpone future foxing, line your linen storage in
> buffered papers.  I just use an old cotton sheet as the bottom layer
> in my cedar closet.

I have two "hopeless" linen table cloths that I use to wrap the 
"non-hopless" ones in while storing them.

liz young

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Subject: [h-cost] Goldwork
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I don't waste anywhere near enough money on my sewing (HAH!) so now that I 
work for my fabric instead of paying for it, I've decided to add on a nice, 
stupidly expensive hobby: I want to get into goldwork!  Specifically, the 
sort that would be used for embellishing garments and headwear in the early 
16th century.  But being me, I have to be as authentic as I can... and I 
really have no idea where to start with the research.

(The best website I've found so far for the type of goldwork I'm interested 
in is this, even though she does the modern stuff:
http://www.berlinembroidery.com/bullions.htm
http://www.berlinembroidery.com/goldwork.htm )

Does anyone know of any good resources for learning about the authentic 
stuff? Any suggestions for modern books that might help me with technique? 
I started embroidering when I was 7 or 8, so I do have experience with that 
angle of it, but I think a lot of that just doesn't translate.  And it's not 
the sort of thing where I'd want to spend tons of time experimenting blind, 
because even the cheap version of the silly stuff is so expensive per yard.

And is this what was called Or Nue'?

-E House 

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Subject: Re: [h-cost] Partly OT: Stains on table linen
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Sometimes the discoloration is actually a chemical change of the fibers, so  
nothing will change it.  But, by all means, try sun bleaching.  If all  else 
fails, can you cut around the stained parts to make things--women's  
undergarments, for example.
 
Ann
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From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: body shaping (was corset myth)
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Elena House wrote:

> The whole garment is a solution to a specific body-shaping problem; a
> problem which has been solved in different ways over the centuries, and
> which must be solved in different ways the desired body shape changes over
> time.  In the 13thC, the solution was breast-wrapping; in the 14th, it was
> the GFD; in the 15th, it was both a later version of the GFD and an early
> version of the bodice-skirt kirtle; in the early 16th, it was the vasquine
> and farthingale; in the late 16th, it was the payre of bodyes and
> farthingale.

Both your replies to the original query were fascinating! I loved all the
quotes. But now I am interested in a different item listed above. When you
say that in the 13th century the solution to desired body shaping was breast
wrapping, what exactly do you mean? I'm sure they did something, but I am
not familiar with this.

Gail Finke

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Date: Thu, 02 Mar 2006 22:54:46 +0100
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Goldwork
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On Thu, 2 Mar 2006 14:45:55 -0600, E House <formfunc@formfunction.org>  
wrote:
> Does anyone know of any good resources for learning about the authentic  
> stuff? Any suggestions for modern books that might help me with  
> technique?

If you want one book that covers just about everything there is to cover  
except patterns;
Metal thread embroidery by Jane Lemon
Batsford (March 28, 2005)
ISBN 071348926X
It covers historical and modern stitches, thread,  
techniques,equipment,photoes of extant pieces including Elisabethan and  
more. I have bought others, but this is the one I keep returning to. And  
the only one I've found truly useful for historical goldwork anytime  
within my period of interest(1200-1670).

Some websites worth looking at ;
Or Nue
http://medieval.webcon.net.au/technique_or_nue.html
Or Nue (Shaded Gold)
http://www.advancenet.net/jscole/ornue.html

And a brief introduction to historical goldwork;
All that glitters...
http://www.bayrose.org/wkneedle/Articles/Goldwork.html

Gunvor

-- 
"Jeg har sagt ja og nei og DA får du lov"
Anders (nesten 4 år)
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Goldwork
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The book I have is called "Goldwork" by Search Press.  It has some history in it and shows how to do each of the techniques for goldwork.  I've heard that the Jane Lemon book is the best though.


Or nue' is the stitching of metal threads with a fine colored thread to make shaded or colored patterns.  The gold threads cover the whole surface of the design and the spacing of the color stitching is varied to show more or less gold.

Roscelin

Well, I'm off to get packed to attend the Sewing Expo up in Puyallup, WA.  

 -------------- Original message ----------------------
From: "E House" <formfunc@formfunction.org>
> I don't waste anywhere near enough money on my sewing (HAH!) so now that I 
> work for my fabric instead of paying for it, I've decided to add on a nice, 
> stupidly expensive hobby: I want to get into goldwork!  Specifically, the 
> sort that would be used for embellishing garments and headwear in the early 
> 16th century.  But being me, I have to be as authentic as I can... and I 
> really have no idea where to start with the research.
> 
> (The best website I've found so far for the type of goldwork I'm interested 
> in is this, even though she does the modern stuff:
> http://www.berlinembroidery.com/bullions.htm
> http://www.berlinembroidery.com/goldwork.htm )
> 
> Does anyone know of any good resources for learning about the authentic 
> stuff? Any suggestions for modern books that might help me with technique? 
> I started embroidering when I was 7 or 8, so I do have experience with that 
> angle of it, but I think a lot of that just doesn't translate.  And it's not 
> the sort of thing where I'd want to spend tons of time experimenting blind, 
> because even the cheap version of the silly stuff is so expensive per yard.
> 
> Andr
 is this what was called Or Nue'?
> 
> -E House 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Re: body shaping (was corset myth)
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----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
> Both your replies to the original query were fascinating! I loved all the
> quotes. But now I am interested in a different item listed above. When you
> say that in the 13th century the solution to desired body shaping was 
> breast
> wrapping, what exactly do you mean? I'm sure they did something, but I am
> not familiar with this.

That's a reference to a few mentions I've run across in books, or quotes 
from others who've read them.  The one that sticks in my head best is from 
the 13th century, because it's the first mention I found--it's mentioned in 
"A History of Private Life, Vol II" (p363) and is from "La Cle' d'Amour" 
which is an anthology of 13thC works in the tradition of Ovid, containing 
advice on all sorts of things.  I don't have an exact quote, but in this 
work, women whose breasts are too large are advised to bind them.

Other references:
Somewhen in the middle of the 12th century, an abbot, Gilbert of Hoyland, 
(created abbot 1150, died 1172) writes in "Sermones in Canticum Solomonis" 
that:
"The breasts are most pleasing when they are of moderate size and 
eminence...They should be bound but not flattened, restrained with 
gentleness but not given too much license."

This article:
Waugh, Christina Frieder. "Well-Cut through the Body: Fitted Clothing
in Twelfth-Century Europe", Dress (volume 26) 1999
(sorry, don't have any more info on it) discusses breastbinding in the 
12thC, and contains another Gilbert of Hoyland quote:
"I refer you to the devices of women, who cultivate and develop physical 
beauty and have mastered this art. For what are they more anxious to avoid 
in embellishing the bosom, than that the breasts be overgrown and shapeless 
and flabby?.....Therefore they constrain overgrown and flabby breasts with 
breast-bands, artfully remedying the shorcomings of nature."

Line 13329 ff. from The Romance of the Rose, written about 1360, from the 
Charles Dahlberg translation [This is what my notes say, but this is from 
the second half, and I think that part was written at the end of the 13thC. 
Could this have been added in to a later version?  or did my source just 
look at the wrong date?]:
"If her breasts are too heavy she should take a scarf or towel to bind them 
against her chest and wrap it
right around her ribs, securing it with needle and thread or by a knot; thus 
she can be active at her play."

There's something about Eleanor of Aquitaine (12thC) and also an 8thC 
Lombardic reference, but I can't put my hands on them at the moment.  Wish I 
could!

-E House 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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1st: Dont buy or borrow Kreinicks book about metal thread embroidery. Its 
just crap, a lot of cross stitch patterns using metallic threads.
But a very useable good book, very small, but cheap is Needle Crafts 20 
Goldwork. Its published by Search Press Limited, Tunbridge Wells, Kent - 
England.
Also their larger book Goldwork Revised and expanded edition.
I started my goldwork to outline ordinary embroideries, f.eks flowers and 
leaves with gold passing thread. Then i went on and used bullion threads 
(hollow wrapped goldthreads (worms)). Goldspangels is also fun to use.
Silver is another thing. It tarnishes much two quicly, and today its almost 
impossible to clean by others than experts.
A warning i want to advise everybody about is using bullion threads on 
clothing. The ends of this fine goldthread, catches everything, and unravell 
itselfs. I spoke to Mauritia Kirchner about this recently, and she has the 
same problems.Wasnt a problem for the kings and nobels, they just baught a 
new outfit, but for us deadly, it is such a shame and expensive.Not a 
warning not to use it, but just that you wont get surprised!
Very adictive hobby!

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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I heard from 18th century womens list, that the catalog from the museum, is 
finally available.............

Bjarne





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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Or nue (was Re: [h-cost] Goldwork
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Quoting E House <formfunc@formfunction.org>:

>
>
> And is this what was called Or Nue'?
>

Or nue is some of the most awesome needlework ever produced by human
hands.

The cardinal is Or Nue
http://www.berlinembroidery.com/cardinal.htm
The gold threads are couched down with red silk.  How close together the
couching stitches are makes the design.

Here's some pictures
http://rubens.anu.edu.au/raid4/austria/vienna/museums/schatzkammer/order_of_the_golden_fleece/liturgical_vestments/
http://www.khm.at/system2E.html?/staticE/page486.html
http://www.khm.at/system2E.html?/staticE/page473.html

There's a book on the painter Campin by Thurleman that has some of the
most awesome enlargements for these garments.  Campin is believed to
have produced the cartoons for the vestments.  Here's a figure that I
scanned from this book
http://epee.goldsword.com/sfarmer/SCA/Embroidery/OGF_campinPage166top.jpg
http://epee.goldsword.com/sfarmer/SCA/Embroidery/OGF_campinPage166.jpg

generally, the faces and hands are done in split stitch.

Jerusha -- who will learn to do this or die!
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] Goldwork
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It looks like some of the gold work done on the Japanese fabrics I saw in 
school. The gold was wrapped around a silk thread but you had to have an 
eyepiece to see it that close. It was fantastic details in the antique 
fabrics. I don't remember the time period, but very old.
I'd love to learn more about this technique as well. Thanks for the 
inspiration.

----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 02, 2006 3:45 PM
Subject: [h-cost] Goldwork


>I don't waste anywhere near enough money on my sewing (HAH!) so now that I 
>work for my fabric instead of paying for it, I've decided to add on a nice, 
>stupidly expensive hobby: I want to get into goldwork!  Specifically, the 
>sort that would be used for embellishing garments and headwear in the early 
>16th century.  But being me, I have to be as authentic as I can... and I 
>really have no idea where to start with the research.
>
> (The best website I've found so far for the type of goldwork I'm 
> interested in is this, even though she does the modern stuff:
> http://www.berlinembroidery.com/bullions.htm
> http://www.berlinembroidery.com/goldwork.htm )
>
> Does anyone know of any good resources for learning about the authentic 
> stuff? Any suggestions for modern books that might help me with technique? 
> I started embroidering when I was 7 or 8, so I do have experience with 
> that angle of it, but I think a lot of that just doesn't translate.  And 
> it's not the sort of thing where I'd want to spend tons of time 
> experimenting blind, because even the cheap version of the silly stuff is 
> so expensive per yard.
>
> And is this what was called Or Nue'?
>
> -E House
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Goldwork
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Quoting E House <formfunc@formfunction.org>:

> I don't waste anywhere near enough money on my sewing (HAH!) so now 
> that I work for my fabric instead of paying for it, I've decided to 
> add on a nice, stupidly expensive hobby: I want to get into goldwork! 
>  Specifically, the sort that would be used for embellishing garments 
> and headwear in the early 16th century.  But being me, I have to be 
> as authentic as I can... and I really have no idea where to start 
> with the research.

I didn't realize that I hadn't addressed the first part of your email.

Or nue wasn't something that you'd normally see on garb.  Alot of what
you would see in the 16th century was blackwork, maybe smocking on
chemise necklines, etc.  Paintings are going to be your friend here to
help you see what kind of stuff was done in the specific locale and
time period that you're wanting.

You see metal thread on some Elizabethan Coifs.  If you're doing Tudor
English, look at paintings of Henry and his wives for early 16th
century for your best tips.

Jerusha
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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On Thursday 02 March 2006 1:32 pm, ruthanneb@mindspring.com wrote:
[snip]

> Who would expect in a modest little neighborhood in Fairfield Connecticut
> to drive around the corner and find a pair of snowpersons one of whom was
> wearing a HENNIN? I assume a little girl wanted to give her Hallowe'en
> costume one more day to shine....Anyway, with the homeowner's permission I
> took a photo of Snow Maiden and Swain.

That is precious!  Thank you!


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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From: Kathryn Parke <kjp1685@yahoo.com>
Subject: RE: [h-cost] Alexandrian cap
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Well, this is really fascinating, because I read about it as a part of an ensemble worn to a Regency ball -- not a particularly young woman, but also (I believe), not of the old, turbaned dowager variety.  I can't imagine such a thing being worn w/ a formal ballgown, and (although I don't claim to be a scholar by any means!) it seems especially incongruous w/ a high-waisted Regency dress in a light muslin or silk.  (I'm not sure where I saw the original reference.)  I had pictured something more like a Juliet cap -- have you ever seen such a cap on a woman, or in such a context?
   
  Thanks for the image search!  I'll have to explore using that more!
   
  KP
   
  

"Susan B. Farmer" <sfarmer@goldsword.com> wrote:
  Quoting Kathryn Parke :

> Alas, that helps me not -- what does a Phrygian style hat look like? : )
>

google image search is your friend
http://images.google.com/images?svnum=10&hl=en&lr=&q=phrygian+hat&btnG=Search

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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The phrygian hat is also called "the Liberty hat" and is worn by the French
"Lady Liberty", Marianne.
It was about the time of the French revolution that it became popular.
http://www.diplomatie.gouv.fr/en/france_159/discovering-france_2005/france-f
rom-to-z_1978/the-symbols-of-the-republic-and-bastille-day_2002/marianne_150
6.html

http://www.allstates-flag.com/fotw/flags/xf-cap.html

So it may have been fashionable for a woman to wear such a hat with a
Regency gown.

De


-----Original Message-----
Well, this is really fascinating, because I read about it as a part of an
ensemble worn to a Regency ball -- not a particularly young woman, but also
(I believe), not of the old, turbaned dowager variety.  I can't imagine such
a thing being worn w/ a formal ballgown, and (although I don't claim to be a
scholar by any means!) it seems especially incongruous w/ a high-waisted
Regency dress in a light muslin or silk.  (I'm not sure where I saw the
original reference.)  I had pictured something more like a Juliet cap --
have you ever seen such a cap on a woman, or in such a context?

  Thanks for the image search!  I'll have to explore using that more!

  KP



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Subject: [h-cost] The Change & Hand Fans
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Status: RO

Okay ladies... how many of you have had hot flashes and found that your hand fans are your new best friend?  

I have been collecting hands fans for the past 10 years.  They had only come out of the drawer in the summertime when sitting by the pool.  Now with the hot flashes, I carry them with me everywhere.  I have one in every room of my house.  And I can color coordinate them with my outfits?  Maybe a new trend for us going through the change!

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Re: Goldwork
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Status: RO

Hiya,

I recently wrote some SCA competition documentation on
goldwork, that if my computer hadn't been blown up
recently, I'd offer to send to you. I'll also be
teaching a very-beginner class in goldwork April 1 at
Forward into the Past, Cambridge, Ontario. Ironically,
my plea to find the original source for that sweete
bag was for the documentation of this class. I'll list
my doc sources since I have a hard copy floating
about. Please excuse any spelling errors, I am
developing a cold and thus can't sleep, so no
accounting for the condition of my coherency.

> I don't waste anywhere near enough money on my
> sewing (HAH!) 

I feel your pain all too well. :-)

Specifically, the 
> sort that would be used for embellishing garments
> and headwear in the early 
> 16th century.  

I've not actually found it on *extant* headwear, per
se. To qualify, I am speaking *only* of purl/bullion
goldwork, not or nue or anglicanum. I have little
doubt that they used it on pillbox type hats ,
possibly coifs and partlets. Paintings show what looks
like its' use to me, but so little of the stuff exists
now because of recycling, I have no hard fast
evidence.  I've seen it on the girdler's coronet, but
that is 17th c. and at that, a repro of the original.
I was actually mentally running a list of extant
things I have seen it on dated roughly to the 16th c
(not being culturally specific):
garments - sleeves, foreparts, underwear, wedding
robes, Order robe appliques 
accessories - gloves, sweete bags, shoes, reliquary
pouches 
other - book covers, ecclesiastic garments, various
decor items, seal purses, needle cases...
I could likely be a little more accurate if my drive
were running, this is off the top of my head. Please
feel free to add to this list, I actually want to
throw a list at my students so they have a general
idea where they can apply this highly-addictive hobby.
:-)

> http://www.berlinembroidery.com

Tanya is one of my main suppliers aside from the very
reasonably priced lady at Pennsic. Tammy Barnes, I
think her name is? I picked up loads of smooth purl
from her at a great price. IF you want to go hard core
and do the REAL thing, Lorina Stephens of Five Rivers
Champanry will happily lighten your load in exchange
for stuff no human hands deserve to touch. *grin* 

> Does anyone know of any good resources for learning
> about the authentic 
> stuff? 

Authentic is relative. Having recently seen the back
of extant goldwork, even my partner said "jeez, what a
mess!" But mine always seems surprisingly tidy by
comparison. I can't seem to make mine messy enough on
the back to look truly authentic. o.O But from the
front.. it's pretty good. 

Any suggestions for modern books that might
> help me with technique? 

This list is from my doc:
Saunders, Sally "Royal School of Needlework Embroidery
Techniques" BT Batsford, 1998
Campbell-Harding, Lemon, Jane, Pyman, Kit
"Goldwork:Revised and Expanded Edition" Search Press,
1998
Synge, Lanto "Art of Embroidery:History of Style and
Technique" The Royal School of Needlework. Woodbridge,
England; (Wappingers Falls, NY): Antique Collectors
Club, 2001.
Staniland, Kay "Embroiderers". Toronto: University of
Toronto Press, 1991.
Franklin, Tracy A., "New Ideas in Goldwork" BT
Batsford, 2002.
Schuette, Maris, Muller-Christensen, Sigrid, "A
Pictorial History of Embroidery" Fredrik A. Praeger,
New York, 1964.

I have recently added this one to my collection:
Lomny, Antonia, "The Art and Craft of Goldwork" Simon
and Schuster, 2004. 
This one is great for small projects to familiarise
yourself with techniques. It is Australian, and thus
the technique is slightly different from most
traditional techniques; they use Sadi bullion which is
of Indian origin. They also use passing thread to
couch with, which drives me nuts. Personally I use the
YLI silk heirloom threads. There is an or nue project
in there I want to try to get a grip on how it's done.
The Royal School book also has great practise projects
in it covering all traditional gold work techniques.
My current project (which I would have had pictures of
if my camera hadn't burped on me - just not my week
for technology!) erroneously has one flower done with
Sadi bullion, the rest with traditional. It doesn't
show up until the light hits at the right angle, then
you can't miss the difference. Ultimately I don't
think it matters, just so long as you use all the same
material from the same origin.

> I started embroidering when I was 7 or 8, so I do
> have experience with that 
> angle of it, but I think a lot of that just doesn't
> translate. 

Actually, it does. Once I got over the hump of
thinking same-but-different, I taught myself very
quickly.

 And it's not 
> the sort of thing where I'd want to spend tons of
> time experimenting blind, 
> because even the cheap version of the silly stuff is
> so expensive per yard.
Let me check my card for my Pennsic contact. It'll
make the costs a little easier to swallow. Right now,
costume storage is jammed into the sewing room as I
slowly redecorate the spare room for my daughter thus
can't get to the cupboard that holds all my supplies
(gasp!). Alternatively, scan the used clothing stores
for Indian clothes and reclaim the materials from
their stuff. Basically I just bought myself a goldwork
project kit and ran with it.

> And is this what was called Or Nue'?

They fall into the same category because they use gold
thread. "Gold" or in more broader terms, "Metal"
embroidery is a fairly broad category. I haven't
braved myself to Or Nue'  or opus anglicanum yet.
Either of these look like they take couching to a
whole new tedious level.

Hope that helps.

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Subject: Re: [h-cost] Re: Goldwork
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X-Miltered: at persephone with ID 4408329E.000 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!
Status: RO

I had a computer crash last year. Since then I save everything to disk... 
within a few days of putting it on my computer. It's a hard lesson but 
that's one of the hassles of new technology. It's harder to fix than to get.
----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: <h-costume@indra.com>
Sent: Friday, March 03, 2006 4:10 AM
Subject: [h-cost] Re: Goldwork


> Hiya,
>
> I recently wrote some SCA competition documentation on
> goldwork, that if my computer hadn't been blown up
> recently, I'd offer to send to you. I'll also be
> teaching a very-beginner class in goldwork April 1 at
> Forward into the Past, Cambridge, Ontario. Ironically,
> my plea to find the original source for that sweete
> bag was for the documentation of this class. I'll list
> my doc sources since I have a hard copy floating
> about. Please excuse any spelling errors, I am
> developing a cold and thus can't sleep, so no
> accounting for the condition of my coherency.
>
>> I don't waste anywhere near enough money on my
>> sewing (HAH!)
>
> I feel your pain all too well. :-)
>
> Specifically, the
>> sort that would be used for embellishing garments
>> and headwear in the early
>> 16th century.
>
> I've not actually found it on *extant* headwear, per
> se. To qualify, I am speaking *only* of purl/bullion
> goldwork, not or nue or anglicanum. I have little
> doubt that they used it on pillbox type hats ,
> possibly coifs and partlets. Paintings show what looks
> like its' use to me, but so little of the stuff exists
> now because of recycling, I have no hard fast
> evidence.  I've seen it on the girdler's coronet, but
> that is 17th c. and at that, a repro of the original.
> I was actually mentally running a list of extant
> things I have seen it on dated roughly to the 16th c
> (not being culturally specific):
> garments - sleeves, foreparts, underwear, wedding
> robes, Order robe appliques
> accessories - gloves, sweete bags, shoes, reliquary
> pouches
> other - book covers, ecclesiastic garments, various
> decor items, seal purses, needle cases...
> I could likely be a little more accurate if my drive
> were running, this is off the top of my head. Please
> feel free to add to this list, I actually want to
> throw a list at my students so they have a general
> idea where they can apply this highly-addictive hobby.
> :-)
>
>> http://www.berlinembroidery.com
>
> Tanya is one of my main suppliers aside from the very
> reasonably priced lady at Pennsic. Tammy Barnes, I
> think her name is? I picked up loads of smooth purl
> from her at a great price. IF you want to go hard core
> and do the REAL thing, Lorina Stephens of Five Rivers
> Champanry will happily lighten your load in exchange
> for stuff no human hands deserve to touch. *grin*
>
>> Does anyone know of any good resources for learning
>> about the authentic
>> stuff?
>
> Authentic is relative. Having recently seen the back
> of extant goldwork, even my partner said "jeez, what a
> mess!" But mine always seems surprisingly tidy by
> comparison. I can't seem to make mine messy enough on
> the back to look truly authentic. o.O But from the
> front.. it's pretty good.
>
> Any suggestions for modern books that might
>> help me with technique?
>
> This list is from my doc:
> Saunders, Sally "Royal School of Needlework Embroidery
> Techniques" BT Batsford, 1998
> Campbell-Harding, Lemon, Jane, Pyman, Kit
> "Goldwork:Revised and Expanded Edition" Search Press,
> 1998
> Synge, Lanto "Art of Embroidery:History of Style and
> Technique" The Royal School of Needlework. Woodbridge,
> England; (Wappingers Falls, NY): Antique Collectors
> Club, 2001.
> Staniland, Kay "Embroiderers". Toronto: University of
> Toronto Press, 1991.
> Franklin, Tracy A., "New Ideas in Goldwork" BT
> Batsford, 2002.
> Schuette, Maris, Muller-Christensen, Sigrid, "A
> Pictorial History of Embroidery" Fredrik A. Praeger,
> New York, 1964.
>
> I have recently added this one to my collection:
> Lomny, Antonia, "The Art and Craft of Goldwork" Simon
> and Schuster, 2004.
> This one is great for small projects to familiarise
> yourself with techniques. It is Australian, and thus
> the technique is slightly different from most
> traditional techniques; they use Sadi bullion which is
> of Indian origin. They also use passing thread to
> couch with, which drives me nuts. Personally I use the
> YLI silk heirloom threads. There is an or nue project
> in there I want to try to get a grip on how it's done.
> The Royal School book also has great practise projects
> in it covering all traditional gold work techniques.
> My current project (which I would have had pictures of
> if my camera hadn't burped on me - just not my week
> for technology!) erroneously has one flower done with
> Sadi bullion, the rest with traditional. It doesn't
> show up until the light hits at the right angle, then
> you can't miss the difference. Ultimately I don't
> think it matters, just so long as you use all the same
> material from the same origin.
>
>> I started embroidering when I was 7 or 8, so I do
>> have experience with that
>> angle of it, but I think a lot of that just doesn't
>> translate.
>
> Actually, it does. Once I got over the hump of
> thinking same-but-different, I taught myself very
> quickly.
>
> And it's not
>> the sort of thing where I'd want to spend tons of
>> time experimenting blind,
>> because even the cheap version of the silly stuff is
>> so expensive per yard.
> Let me check my card for my Pennsic contact. It'll
> make the costs a little easier to swallow. Right now,
> costume storage is jammed into the sewing room as I
> slowly redecorate the spare room for my daughter thus
> can't get to the cupboard that holds all my supplies
> (gasp!). Alternatively, scan the used clothing stores
> for Indian clothes and reclaim the materials from
> their stuff. Basically I just bought myself a goldwork
> project kit and ran with it.
>
>> And is this what was called Or Nue'?
>
> They fall into the same category because they use gold
> thread. "Gold" or in more broader terms, "Metal"
> embroidery is a fairly broad category. I haven't
> braved myself to Or Nue'  or opus anglicanum yet.
> Either of these look like they take couching to a
> whole new tedious level.
>
> Hope that helps.
>
> Kathy
>
> Ermine, a lion rampant tail nowed gules charged on the shoulder with a 
> rose Or barbed, seeded, slipped and leaved vert
>
> It's never too late to be who you might have been.
> -George Eliot
> For every beauty there is an eye somewhere to see it. For every truth 
> there is an ear somewhere to hear it. For every love there is a heart 
> somewhere to receive it.
> -Ivan Panin
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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References: <9882D01216FC5249A2A41B86BD89559B0781DCF3@wcosmb01.cos.agilent.com>
Subject: Re: [h-cost] Fit of a victorian bodice
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My experience, based on antique bodices in my collection, features this
fitting mode only on the lining or under bodice.  This point of fitting is
then 'upholsterd by the outer fabric that is draped and tweaked in such a
manner that the adjustment is not obvious.  A dressform is definitely a plus
for one of these constructions.

Kathleen
----- Original Message ----- 
From: <sunshine_buchler@agilent.com>
To: <h-costume@indra.com>
Sent: Thursday, March 02, 2006 2:12 PM
Subject: [h-cost] Fit of a victorian bodice


> Hi, I'm making an 1865-70 bodice (first bustle era) starting from the
Truly Victorian ball bodice pattern, and I'm having trouble with the fit
around the armholes -- there's a horizontal stress line about 1/2" above the
bottom of the armhole (right at the top of my corset) it extends about 3"
into the bust, and about the same length across the back. I'm not sure how
to get rid of it -- the rest of the bodice fits beautifully... I also had
this problem on my princess-line tea gown using their pattern... But I
thought it was due to the weight of the fabric, but that can't be the case
for my current bodice... Does anyone have any suggestions for how to handle
this fitting problem? Should I make the armhole bigger (and if so, should it
be lower side front, lower side back, or the bottom? I'm afraid if I widen
the armhole it'll just pull the armhole out of shape due to the pull...)
should I let the side seam out a little bit? I thought about putting padding
inside the bodice ther!
>  e, but there is very little room... And the bodice is satin so it shows
every little crinkle or dent - unfortunately you can even follow the line of
the lace on the chemise if you look closely.
>
> Does anyone have any suggestions?
> Thank you,
> -sunny
>
> _______________________________________________
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Subject: [h-cost] Re: Goldwork
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For 16th c. goldwork, I recall finding information on supplies and such by
Googling "Purl" -- It seems to be referred to that way in some of the
textile books, and you can still get the gold threads in different shapes
and textures. 

As for Or Nue, it was primarily for ecclesiastical use -- gold threads were
couched down and silk colors stitched over them in different densities to
create beautiful "paintings" full of light and shadow -- very sumptuous!
(but not really used in garb unless you want to wear a Cope ;)

The most inspiring examples of Or Nue (to me) are the Golden Fleece
Vestments. 

I'd be interested as well if anyone has further input on goldwork/purlwork.
I have been dying to do a particular costume that has a goldwork breastpiece
-- just haven't finished figuring out how to go about it (and I've only
embroidered one thing in my life... May as well aim high! ;)

Kat


>> I don't waste anywhere near enough money on my sewing (HAH!) so now that I
>> work for my fabric instead of paying for it, I've decided to add on a nice,
>> stupidly expensive hobby: I want to get into goldwork!  Specifically, the
>> sort that would be used for embellishing garments and headwear in the early
>> 16th century.  But being me, I have to be as authentic as I can... and I
>> really have no idea where to start with the research.
>> [snip]
>> And is this what was called Or Nue'?


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I remember my grandmother collected fans, 30 years ago. Her favorite was this beautiful pierced sandlewood fan that she would grab and fan herself -at the time I just thought she really liked fans.

Wendy




 --- On Fri 03/03, Penny Ladnier < penny@costumegallery.com > wrote:
From: Penny Ladnier [mailto: penny@costumegallery.com]
To: h-costume@indra.com
Date: Fri, 3 Mar 2006 02:26:22 -0500
Subject: [h-cost] The Change & Hand Fans

Okay ladies... how many of you have had hot flashes and found that your hand fans are your new best friend?  <br><br>I have been collecting hands fans for the past 10 years.  They had only come out of the drawer in the summertime when sitting by the pool.  Now with the hot flashes, I carry them with me everywhere.  I have one in every room of my house.  And I can color coordinate them with my outfits?  Maybe a new trend for us going through the change!<br><br>Penny E. Ladnier<br>Owner,<br>The Costume Gallery, www.costumegallery.com<br>Costume Classroom, www.costumeclassroom.com<br>Costume Research Library, www.costumelibrary.com<br>_______________________________________________<br>h-costume mailing list<br>h-costume@mail.indra.com<br>http://mail.indra.com/mailman/listinfo/h-costume<br>

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Subject: Re: [h-cost] The Change & Hand Fans
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Sorry, Penny.  Been there, done that, and no hot flashes.
--Sue, rather smugly ;o)

----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Friday, March 03, 2006 12:26 AM
Subject: [h-cost] The Change & Hand Fans


> Okay ladies... how many of you have had hot flashes and found that your
hand fans are your new best friend?
>


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: Re: [h-cost] The Change & Hand Fans
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Quoting Penny Ladnier <penny@costumegallery.com>:

> Okay ladies... how many of you have had hot flashes and found that 
> your hand fans are your new best friend?
>
> I have been collecting hands fans for the past 10 years.  They had 
> only come out of the drawer in the summertime when sitting by the 
> pool.  Now with the hot flashes, I carry them with me everywhere.  I 
> have one in every room of my house.  And I can color coordinate them 
> with my outfits?  Maybe a new trend for us going through the change!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Alexandrian cap
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On Thursday 02 March 2006 11:02 pm, Kathryn Parke wrote:
> Well, this is really fascinating, because I read about it as a part of an
> ensemble worn to a Regency ball -- not a particularly young woman, but also
> (I believe), not of the old, turbaned dowager variety.  I can't imagine
> such a thing being worn w/ a formal ballgown, and (although I don't claim
> to be a scholar by any means!) it seems especially incongruous w/ a
> high-waisted Regency dress in a light muslin or silk.  (I'm not sure where
> I saw the original reference.)  I had pictured something more like a Juliet
> cap -- have you ever seen such a cap on a woman, or in such a context?

I don't remember seeing any Phrygian or Alexandrine caps, but there was a 
definite vogue for odd headgear during the Regency period--such as turbans.  
Here's a whole page of period illustrations of evening wear with turbans:

http://hal.ucr.edu/~cathy/dress/turb.html

Actually, that turned out to be three pages--here are special links to the 
other two:

http://hal.ucr.edu/~cathy/dress/turb2.html
http://hal.ucr.edu/~cathy/dress/turb3.html

This woman is wearing just a pair of ostrich feathers in what appears to be 
short, curly hair:

http://www.trocadero.com/thenowhouse/items/425212/en1.html


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] The Change & Hand Fans
Date: Fri, 3 Mar 2006 11:32:13 -0500
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We are a large enough group to make a new Fashion Statement, that's for 
sure!

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 3, 2006, at 10:37 AM, Susan B. Farmer wrote:

> Quoting Penny Ladnier <penny@costumegallery.com>:
>
>> Okay ladies... how many of you have had hot flashes and found that 
>> your hand fans are your new best friend?
>>
>> I have been collecting hands fans for the past 10 years.  They had 
>> only come out of the drawer in the summertime when sitting by the 
>> pool.  Now with the hot flashes, I carry them with me everywhere.  I 
>> have one in every room of my house.  And I can color coordinate them 
>> with my outfits?  Maybe a new trend for us going through the change!
>
> Susan
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
>
>
> _______________________________________________
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At 04:02 03/03/2006, you wrote:
>Well, this is really fascinating, because I read about it as a part 
>of an ensemble worn to a Regency ball -- not a particularly young 
>woman, but also (I believe), not of the old, turbaned dowager 
>variety.  I can't imagine such a thing being worn w/ a formal 
>ballgown, and (although I don't claim to be a scholar by any means!) 
>it seems especially incongruous w/ a high-waisted Regency dress in a 
>light muslin or silk.  (I'm not sure where I saw the original 
>reference.)  I had pictured something more like a Juliet cap -- have 
>you ever seen such a cap on a woman, or in such a context?
>
>   Thanks for the image search!  I'll have to explore using that more!
>
>   KP
>google image search is your friend
>http://images.google.com/images?svnum=10&hl=en&lr=&q=phrygian+hat&btnG=Search
>
>Susan

During the French Revolution, the Phrygian cap became popular among 
the revolutionaries, as I recall. I seem to remember it was white 
with e a cockade. I suspect it was a cap after that style that your 
Regency lady would have worn. I would see if you can find a reference 
in Cunnington's "Englishwoman's Clothing in the 19th Century," where 
there are pages of hats, one for each year.

Suzi


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Subject: [h-cost] Re: Goldwork
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Hiya,

I recently wrote some SCA competition documentation on
goldwork, that if my computer hadn't been blown up
recently, I'd offer to send to you. I'll also be
teaching a very-beginner class in goldwork April 1 at
Forward into the Past, Cambridge, Ontario. Ironically,
my plea to find the original source for that sweete
bag was for the documentation of this class. I'll list
my doc sources since I have a hard copy floating
about. Please excuse any spelling errors, I am
developing a cold and thus can't sleep, so no
accounting for the condition of my coherency.

> I don't waste anywhere near enough money on my
> sewing (HAH!) 

I feel your pain all too well. :-)

Specifically, the 
> sort that would be used for embellishing garments
> and headwear in the early 
> 16th century.  

I've not actually found it on *extant* headwear, per
se. To qualify, I am speaking *only* of purl/bullion
goldwork, not or nue or anglicanum. I have little
doubt that they used it on pillbox type hats ,
possibly coifs and partlets. Paintings show what looks
like its' use to me, but so little of the stuff exists
now because of recycling, I have no hard fast
evidence.  I've seen it on the girdler's coronet, but
that is 17th c. and at that, a repro of the original.
I was actually mentally running a list of extant
things I have seen it on dated roughly to the 16th c
(not being culturally specific):
garments - sleeves, foreparts, underwear, wedding
robes, Order robe appliques 
accessories - gloves, sweete bags, shoes, reliquary
pouches 
other - book covers, ecclesiastic garments, various
decor items, seal purses, needle cases...
I could likely be a little more accurate if my drive
were running, this is off the top of my head. Please
feel free to add to this list, I actually want to
throw a list at my students so they have a general
idea where they can apply this highly-addictive hobby.
:-)

> http://www.berlinembroidery.com

Tanya is one of my main suppliers aside from the very
reasonably priced lady at Pennsic. Tammy Barnes, I
think her name is? I picked up loads of smooth purl
from her at a great price. IF you want to go hard core
and do the REAL thing, Lorina Stephens of Five Rivers
Champanry will happily lighten your load in exchange
for stuff no human hands deserve to touch. *grin* 

> Does anyone know of any good resources for learning
> about the authentic 
> stuff? 

Authentic is relative. Having recently seen the back
of extant goldwork, even my partner said "jeez, what a
mess!" But mine always seems surprisingly tidy by
comparison. I can't seem to make mine messy enough on
the back to look truly authentic. o.O But from the
front.. it's pretty good. 

Any suggestions for modern books that might
> help me with technique? 

This list is from my doc:
Saunders, Sally "Royal School of Needlework Embroidery
Techniques" BT Batsford, 1998
Campbell-Harding, Lemon, Jane, Pyman, Kit
"Goldwork:Revised and Expanded Edition" Search Press,
1998
Synge, Lanto "Art of Embroidery:History of Style and
Technique" The Royal School of Needlework. Woodbridge,
England; (Wappingers Falls, NY): Antique Collectors
Club, 2001.
Staniland, Kay "Embroiderers". Toronto: University of
Toronto Press, 1991.
Franklin, Tracy A., "New Ideas in Goldwork" BT
Batsford, 2002.
Schuette, Maris, Muller-Christensen, Sigrid, "A
Pictorial History of Embroidery" Fredrik A. Praeger,
New York, 1964.

I have recently added this one to my collection:
Lomny, Antonia, "The Art and Craft of Goldwork" Simon
and Schuster, 2004. 
This one is great for small projects to familiarise
yourself with techniques. It is Australian, and thus
the technique is slightly different from most
traditional techniques; they use Sadi bullion which is
of Indian origin. They also use passing thread to
couch with, which drives me nuts. Personally I use the
YLI silk heirloom threads. There is an or nue project
in there I want to try to get a grip on how it's done.
The Royal School book also has great practise projects
in it covering all traditional gold work techniques.
My current project (which I would have had pictures of
if my camera hadn't burped on me - just not my week
for technology!) erroneously has one flower done with
Sadi bullion, the rest with traditional. It doesn't
show up until the light hits at the right angle, then
you can't miss the difference. Ultimately I don't
think it matters, just so long as you use all the same
material from the same origin.

> I started embroidering when I was 7 or 8, so I do
> have experience with that 
> angle of it, but I think a lot of that just doesn't
> translate. 

Actually, it does. Once I got over the hump of
thinking same-but-different, I taught myself very
quickly.

 And it's not 
> the sort of thing where I'd want to spend tons of
> time experimenting blind, 
> because even the cheap version of the silly stuff is
> so expensive per yard.
Let me check my card for my Pennsic contact. It'll
make the costs a little easier to swallow. Right now,
costume storage is jammed into the sewing room as I
slowly redecorate the spare room for my daughter thus
can't get to the cupboard that holds all my supplies
(gasp!). Alternatively, scan the used clothing stores
for Indian clothes and reclaim the materials from
their stuff. Basically I just bought myself a goldwork
project kit and ran with it.

> And is this what was called Or Nue'?

They fall into the same category because they use gold
thread. "Gold" or in more broader terms, "Metal"
embroidery is a fairly broad category. I haven't
braved myself to Or Nue'  or opus anglicanum yet.
Either of these look like they take couching to a
whole new tedious level.

Hope that helps.

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Subject: [h-cost] RE: Goldwork
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	Ah, my passion and my addiction.

	For reasonably priced gold indeed do look at Berlin. We, as someone
else mentioned, carry rather rarefied gold, manufactured by a peerless
drizzler in Spain. These threads are exactly what you would find in the
superior historical works. I'm always encouraging people to put together a
group order so they can share the equally rarefied cost of these threads.
They are gorgeous. And once you've worked with them you'll never want to
work with any other.

	As Bjarne mentioned, gold wire threads such as purls, facconne,
crinkles, jaceron, etc., will catch and ravel, so it is important when
couching them to be sure you have clipped the metal ends carefully and if it
all possible turned the end inward to prevent catching, as well as ensure
the cut end have rolled down to where you've couched.

	To be truthful, I find these types of gold threads easiest to work
with. It is the passing thread which tests skill and patience. I've found if
you fail to pass the thread through the cloth at 90 degrees, between the
warp and weft, and pull very slowly, keeping light tension on either side of
the cloth, that you're going to tear the delicate foil from the core and
have a mess, little say a waste, on your hands. I have been working with
gold for about eight years now and still find passing thread a challenge.

	Some of my favourite goldwork (and embroidery) I've undertaken is on
our website under Fine Art, the Celtic series of embroideries I designed and
embroidered.

	Or nue: another of my passions. Lordy, I really learned a lot about
it when I worked up a cloak of state for my SCA barony. Images of it are on
our website under Fine Art, scroll to the bottom of the page and click on
the more details link. As someone else mentioned, or nue was not used on
garments; it was used copiously (oh, a pun!) on ecclesiastical paraments and
vestments.

	At the moment (it's a long moment) I'm working on a dress garment
for myself, a frock coat based on a man's early 18th century frock coat,
much modified, with embroidered cuffs and neckline. The design of the
embroidery is not my own, although interpreted differently, taken from the
wedding garments of the Dauphin in 1747. You can find the design in the St.
Aubin book. I've chosen to work the design in a series of rich rusts and
yellows, with purl in the berry areas. The ground is a gorgeous ivory
wool/silk twill. The whole thing will eventually be lined with a silk
charmeuse. I think I'll end up hand-stitching the garment to be sure I don't
ruin any of the embroidery in the sewing machine. When done, I'll have a
lovely dress jacket to wear for those rare occasions we step out.

	Although I no longer have workshops posted on the website, I still
do teach. Workshops run $400.00 CDN per person for two days, includes all
materials (and I mean all), accommodations and meals. We work on the opus
anglicanum alms purse kit listed on our website, and as always, there's
always lots of extra tidbits thrown in.

Regards,
Lorina
Five Rivers Chapmanry
purveyors of historical sewing patterns, quality hand-crafted cooperage,
re-enactor and embroidery supplies, and more.
519-799-5577 info@5rivers.org - www.5rivers.org



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	<44072202.304@reddawn.net>
Subject: Re: [h-cost] Partly OT: Stains on table linen
Date: Fri, 3 Mar 2006 08:42:39 -0500
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My  anti-stain shelf includes a bottle of Aunt Ellen's (both for whites and
colors, found at JoAnn's) and Oxiclean paste, as well as a "tree product".
Aunt Ellen's does have a bleaching element but it took 30 yr. stains out of
my favorite teacozy without showing any damage to the linen fibers. A recent
rescue mission for my daughter's white damask tablecloth was somewhat
successful with a liberal application of Oxiclean.  My favorite brightner
right now is the non-chlorine product of a company called Mellauca. This is
what I am using on my antique laces and other delicates, including silk.  It
does a great job on the obvious 'age' tints without removing the true
antique colors.

Kathleen





----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 02, 2006 11:49 AM
Subject: Re: [h-cost] Partly OT: Stains on table linen


> Kate M Bunting wrote:
>
> > My mother has had to go into a nursing home and I'm clearing her house.
I've found numerous tablecloths and napkins, some quite old and interesting,
a lot of which have food stains on. I've washed them with Vanish (if you
don't have that in the US, it's a new oxygen-based stain remover) but it
doesn't get everything out. I don't want to bleach antique or coloured
items. Suggestions, anyone?
> >
>
> Hydrogen peroxide is pretty mild, but if the oxy-stuff didn't work you
> may not have luck with this either.
>
> Tried sun-bleaching it?
>
>
> Dawn
>
>
> _______________________________________________
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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] The Change & Hand Fans
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At 07:26 03/03/2006, you wrote:
>Okay ladies... how many of you have had hot flashes and found that 
>your hand fans are your new best friend?
>
>I have been collecting hands fans for the past 10 years.  They had 
>only come out of the drawer in the summertime when sitting by the 
>pool.  Now with the hot flashes, I carry them with me everywhere.  I 
>have one in every room of my house.  And I can color coordinate them 
>with my outfits?  Maybe a new trend for us going through the change!


You and me both Penny! I carry a little Chinese folding fan in my 
very small purse/handbag all the time. I pay 50p for them and buy 
them by the dozen, as they break, but I'd rather use them than my 
"good" collection of fans, which I had a habit of losing.

Suzi


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Subject: Re: [h-cost] Re: Goldwork
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Quoting celtkin <celtkin@comcast.net>:

> For 16th c. goldwork, I recall finding information on supplies and such by
> Googling "Purl" -- It seems to be referred to that way in some of the
> textile books, and you can still get the gold threads in different shapes
> and textures.
>
> As for Or Nue, it was primarily for ecclesiastical use -- gold threads were
> couched down and silk colors stitched over them in different densities to
> create beautiful "paintings" full of light and shadow -- very sumptuous!
> (but not really used in garb unless you want to wear a Cope ;)
>
> The most inspiring examples of Or Nue (to me) are the Golden Fleece
> Vestments.
>
> I'd be interested as well if anyone has further input on goldwork/purlwork.
> I have been dying to do a particular costume that has a goldwork breastpiece
> -- just haven't finished figuring out how to go about it (and I've only
> embroidered one thing in my life... May as well aim high! ;)

Purlwork is easy.  It's like a long *tiny* spring.  You cut the pieces
of purl to length, and sew through the center of the spring.  You can
also tack it down by sewing it through the "rings" of the coil if it's
a long piece.  I could show you in about 10 minutes!  Where are you
physically located?

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From h-costume-bounces@indra.com  Fri Mar  3 11:45:32 2006
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From: "Kate Cole" <mrscakehole@hotmail.com>
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Subject: [h-cost] RE: Goldwork
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Status: RO

I took a goldwork class at the Royal School of Needlework 
(www.royal-needlework.co.uk) at Hampton Court Palace - an amazing place to 
learn, and about as authentic as it gets. I think they teach somewhere in 
the US for a couple of weeks each spring/summer, too. The Sally Saunders 
book (Royal School of Needlework Embroidery Techniques) is really good and 
has lots of useful basic info. I've got the Jane Lemon book (Metal Thread 
Embroidery), but it's an A-Z format, which I find pretty useless. Lots of 
nice pictures, though.

Kate



>Message: 8
>Date: Thu, 2 Mar 2006 14:45:55 -0600
>From: "E House" <formfunc@formfunction.org>
>Subject: [h-cost] Goldwork
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID: <00c301c63e3a$4ef93ce0$e100a8c0@compaqub>
>Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>	reply-type=original
>
>I don't waste anywhere near enough money on my sewing (HAH!) so now that I
>work for my fabric instead of paying for it, I've decided to add on a nice,
>stupidly expensive hobby: I want to get into goldwork!  Specifically, the
>sort that would be used for embellishing garments and headwear in the early
>16th century.  But being me, I have to be as authentic as I can... and I
>really have no idea where to start with the research.
>
>(The best website I've found so far for the type of goldwork I'm interested
>in is this, even though she does the modern stuff:
>http://www.berlinembroidery.com/bullions.htm
>http://www.berlinembroidery.com/goldwork.htm )
>
>Does anyone know of any good resources for learning about the authentic
>stuff? Any suggestions for modern books that might help me with technique?
>I started embroidering when I was 7 or 8, so I do have experience with that
>angle of it, but I think a lot of that just doesn't translate.  And it's 
>not
>the sort of thing where I'd want to spend tons of time experimenting blind,
>because even the cheap version of the silly stuff is so expensive per yard.
>
>And is this what was called Or Nue'?
>
>-E House
>
>


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Status: RO

Im not worried, just annoyed at the inconvenience. My
husband has built a fortress for a network in this
house that includes nightly tape back ups. We outgrew
zip drive back up years ago. I'm just stuck waiting
till he finds a functioning power supply to make it
operational again.
Had I believed that I had actually lost anything, I
would *not* be this relaxed. I have some rather
important and irreplaceable files on my drive. Namely
the Sture translations, which are slow but
progressing. My husband learned the hard way several
years ago not to go messing with my computer without
backing it up first. 

Kathy

> I had a computer crash last year. Since then I save
> everything to disk... 
> within a few days of putting it on my computer. It's
> a hard lesson but 
> that's one of the hassles of new technology. It's
> harder to fix than to get.

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Status: RO

Thank you all for the great book & website suggestions.  I now have 
someplace to start!  And Bjarne, thank you for the warnings!  I will 
definitely have to re-think at least my dream project, which had very 
pretty, very allegorical, and very impractical goldwork at the hem & 
sleeves.  However, I think it should still work for the realistic headwear 
applications I was planning.

Looking at portraits is what got me in this trouble in the first place!  =} 
About 4 out of 5 depictions of my favorite headwear show goldwork; only 
about 1 in 30 non-allegorical gowns from my era have it, but it's oooh so 
pretty when they do.  And about 15-20 years later it gets downright common 
on gowns; I may have to dabble in the 1540s!  (I knew it had to happen 
someday... I just keep edging slightly later.  Over the past 10 years or so, 
my time period has edged from c1380-1420 all the way forward to c1490-1525, 
with lots of stops in between!)

Thanks,
E House

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From: Cin <cinbarnes@gmail.com>
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Subject: Fwd: [h-cost] Fit of a victorian bodice
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>Hi, I'm making an 1865-70 bodice (first bustle era) starting from the
Truly >Victorian ball bodice pattern, and I'm having trouble with the
fit around the >armholes -- there's a horizontal stress line about
1/2" above the bottom of the >armhole (right at the top of my corset)
it extends about 3" into the bust, and >about the same length across
the back. I'm not sure how to get rid of it -- the rest >of the bodice
fits beautifully... I also had this problem on my princess-line tea
>gown using their pattern... But I thought it was due to the weight of
the fabric, but >that can't be the case for my current bodice... Does
anyone have any >suggestions for how to handle this fitting problem?

Hey Sunny,
Sounds like your dress materials are just a smidge too tight.  Did you
make a liner to take *all* the stress?  The outer satin should just
"blow into place" then be merely tackstitched.  In truth the corset
takes 99.9999% of the stress, the fitted lining carries the small
stress of closure.

> Should I make the armhole
>bigger (and if so, should it be lower side front, lower side back, or
the bottom?

No, never!  the smaller armseye gives mobility!
Dash out to one of the vintage clothing vendors in your area and look
inside a few bodices.  Even a waist from one of those black traveling
gowns from the 90s will show what you need to see about fitted
linings.

>I'm
>afraid if I widen the armhole it'll just pull the armhole out of
shape due to the >pull...) should I let the side seam out a little
bit? I thought about putting padding >inside the bodice there, but
there is very little room..

"Dress improvers" read bodice pads are correct to the period, so much
so that most every ladies mag issue will feature an ad for such.
Shapes are usually kidney & elipsoid. One layer of batt & construct
like a modern shoulder pad. They fit into the body hollows.

>. And the bodice is satin so
>it shows every little crinkle or dent - unfortunately
>you can even follow the line of
>the lace on the chemise if you look closely.

Sounds lovely!

--cin
Cynthia Barnes
CinBarnes@gmail.com


--
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Date: Fri, 3 Mar 2006 10:47:24 -0800
From: Cin <cinbarnes@gmail.com>
To: "sunny sunshine buchler" <sunshine_buchler@agilent.com>,
        h-cost <h-costume@indra.com>
Subject: Re: [h-cost] Fit of a victorian bodice
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On 3/3/06, Cin <cinbarnes@gmail.com> wrote:
> >Hi, I'm making an 1865-70 bodice (first bustle era) starting from the
> Truly Victorian ball bodice pattern, and I'm having trouble with the
> fit around the armholes -- there's a horizontal stress line about
> 1/2" above the bottom of the armhole (right at the top of my corset)
> it extends about 3" into the bust, and about the same length across
> the back. I'm not sure how to get rid of it -- the rest of the bodice
> fits beautifully...

I'm sure you've thought of these, given your professional training,
but I thought of another possible cause, the stress lines are actually
due to slight bias stretch.  Fix this by interlining with straight
grain goods (selvedge offcuts are traditional) or tailors tape, tho
this may be too heavy if your chemise lace is showing thru.

Yet another possible cause, the shoulder strap wants to lie slightly
outside or inside of where it was designed to go. You may have to
release the side & CB seams, then pivot or slide the section until the
straps lie right.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Date: Fri, 03 Mar 2006 13:25:02 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] The Change & Hand Fans
In-reply-to: <20060303103706.gdvqi63rer4s0s4w@www.goldsword.com>
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Status: RO


Oh Susan! You have it so right!!! I used to do full Elizabethan in August at
the SCA Pennsic War... Ha! Not now!!!
Monica (Catriona in the SCA)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Susan B. Farmer
Sent: Friday, March 03, 2006 10:37 AM
To: Historical Costume
Subject: Re: [h-cost] The Change & Hand Fans


Quoting Penny Ladnier <penny@costumegallery.com>:

> Okay ladies... how many of you have had hot flashes and found that
> your hand fans are your new best friend?
>
> I have been collecting hands fans for the past 10 years.  They had
> only come out of the drawer in the summertime when sitting by the
> pool.  Now with the hot flashes, I carry them with me everywhere.  I
> have one in every room of my house.  And I can color coordinate them
> with my outfits?  Maybe a new trend for us going through the change!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From h-costume-bounces@indra.com  Fri Mar  3 14:10:41 2006
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Subject: Re: [h-cost] Fit of a victorian bodice
Date: Fri, 3 Mar 2006 14:12:14 -0500
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Status: RO

This is kind of what I meant when I spoke of doing a fine-fit with the
lining before you add the garment fabric.  A well fitted muslin will deal
with some if not all the problems of possible bias when the the outer fabric
is added. Most of all my antique jackets were constructed in this way. There
seems to be a slight change in the shape and the wearing when the two layers
come together.
My experience, anyway.  This is one area that really shows up when modern
patterns try to emulate the ninteenth century fit...starting with the
shoulder seam sitting squarely on the shoulder.  Another way the
seamstresses seemed to solve the problem is with a little wadding in the
armhole area.  If you are using an antique construction, maybe adding the
padding which will also give a look of a fuller bustline, is what is missing
in your calculations.

Kathleen
----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "sunny sunshine buchler" <sunshine_buchler@agilent.com>; "h-cost"
<h-costume@indra.com>
Sent: Friday, March 03, 2006 1:47 PM
Subject: Re: [h-cost] Fit of a victorian bodice


> On 3/3/06, Cin <cinbarnes@gmail.com> wrote:
> > >Hi, I'm making an 1865-70 bodice (first bustle era) starting from the
> > Truly Victorian ball bodice pattern, and I'm having trouble with the
> > fit around the armholes -- there's a horizontal stress line about
> > 1/2" above the bottom of the armhole (right at the top of my corset)
> > it extends about 3" into the bust, and about the same length across
> > the back. I'm not sure how to get rid of it -- the rest of the bodice
> > fits beautifully...
>
> I'm sure you've thought of these, given your professional training,
> but I thought of another possible cause, the stress lines are actually
> due to slight bias stretch.  Fix this by interlining with straight
> grain goods (selvedge offcuts are traditional) or tailors tape, tho
> this may be too heavy if your chemise lace is showing thru.
>
> Yet another possible cause, the shoulder strap wants to lie slightly
> outside or inside of where it was designed to go. You may have to
> release the side & CB seams, then pivot or slide the section until the
> straps lie right.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Date: Fri, 3 Mar 2006 20:37:01 +0100
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Subject: [h-cost] medieval belt pouch
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Status: RO

Hi,
I am finishing embroidery for a belt pouch. I wondered if it would be 
suitable to edge the pouch flap with freshwater pearls? Those i have are 5 
mm. wide, are they two clumsy or two heavy for this?
I cant deside if i should just edge the flap with couching a silver cord on, 
or use the pearls.
Embroidery is 3 lion rampants embroidered with white silk, and edged with a 
thin silver line.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Goldwork
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Sorry, forgot to tell that the pouch is made in red silk taffeta.

Bjarne

----- Original Message ----- 
From: "G.Vinje" <g.vinje@drakt.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 02, 2006 10:54 PM
Subject: Re: [h-cost] Goldwork


> On Thu, 2 Mar 2006 14:45:55 -0600, E House <formfunc@formfunction.org> 
> wrote:
>> Does anyone know of any good resources for learning about the authentic 
>> stuff? Any suggestions for modern books that might help me with 
>> technique?
>
> If you want one book that covers just about everything there is to cover 
> except patterns;
> Metal thread embroidery by Jane Lemon
> Batsford (March 28, 2005)
> ISBN 071348926X
> It covers historical and modern stitches, thread, 
> techniques,equipment,photoes of extant pieces including Elisabethan and 
> more. I have bought others, but this is the one I keep returning to. And 
> the only one I've found truly useful for historical goldwork anytime 
> within my period of interest(1200-1670).
>
> Some websites worth looking at ;
> Or Nue
> http://medieval.webcon.net.au/technique_or_nue.html
> Or Nue (Shaded Gold)
> http://www.advancenet.net/jscole/ornue.html
>
> And a brief introduction to historical goldwork;
> All that glitters...
> http://www.bayrose.org/wkneedle/Articles/Goldwork.html
>
> Gunvor
>
> -- 
> "Jeg har sagt ja og nei og DA får du lov"
> Anders (nesten 4 år)
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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From h-costume-bounces@indra.com  Fri Mar  3 14:39:51 2006
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From: "Joannah Hansen" <Joannah@SLUGGY.NET>
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Subject: RE: [h-cost] Alexandrian cap
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The reference you are thinking of comes from chapter 10 of 'Frederica' by Georgette Heyer.

'She had been the mistress of her father's household for too long to suffer agonies of shyness; the orange-blossom dress made for her by Miss Chibbet, and given a touch of a la modality by Charis's clever fingers, was just the thing for a lady who, without being precisely stricken in years, knew herself to be beyond marriageable age; the diamond necklace, bestowed by the late Mr Merriville on his wife, gave her dignity; and the little Alexandrian cap with which, deaf to Charis's protests, she completed her elegant toilette, clearly demonstrated that she was to be ranked amongst the dowagers.'  

'  Frederica entered the room a little in advance of her sister, and paused for a moment, glancing swiftly round. The impression she created was one of elegance. Not even the Alexandrian cap could make her look in the least like a dowager; but the fashion of her orange-blossom crape, with its bodice cut in the Austrian style, the shawl of Albany gauze caught up over her elbows, the sparkle of diamonds round her throat, and, above all, her quiet assurance, clearly showed that she neither was, nor considered herself to be, a girl in her first bloom. She had more the appearance of a young matron, with several years' experience behind her.

Frederica was 24 years old, and was dressed for the ball at which her very beautiful younger sister was to 'come out' to Society.

The reference was fresh in my mind because I have just recently reread 'Frederica', for the umpteenth time.

I must say, I never got the impression that an Alexandrian cap was anything like a Phrygian cap.

I found this link ;

http://hal.ucr.edu/~cathy/lmm/lmm7-14.html

but unfortunately there isn't a picture to go with it.

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- kjp1685@yahoo.com wrote:

Well, this is really fascinating, because I read about it as a part of an ensemble worn to a Regency ball -- not a particularly young woman, but also (I believe), not of the old, turbaned dowager variety.  I can't imagine such a thing being worn w/ a formal ballgown, and (although I don't claim to be a scholar by any means!) it seems especially incongruous w/ a high-waisted Regency dress in a light muslin or silk.  (I'm not sure where I saw the original reference.)  I had pictured something more like a Juliet cap -- have you ever seen such a cap on a woman, or in such a context?
   
  Thanks for the image search!  I'll have to explore using that more!
   
  KP

"Susan B. Farmer" <sfarmer@goldsword.com> wrote:
  Quoting Kathryn Parke :

> Alas, that helps me not -- what does a Phrygian style hat look like? : )
>

google image search is your friend
http://images.google.com/images?svnum=10&hl=en&lr=&q=phrygian+hat&btnG=Search

Susan
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Subject: RE: [h-cost] The Change & Hand Fans
Date: Fri, 3 Mar 2006 11:42:32 -0800
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I bought a black lace fan for use this past year at Dickens Fair. It was the
best $ I ever spent. Not only for hot flashes, but with all the people in
there, it gets quite warm. And as we dress as though we are in London,
outside in December, we roast. (Especially after a fast polka)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Friday, March 03, 2006 12:45 AM
To: Historical Costume
Subject: Re: [h-cost] The Change & Hand Fans


At 07:26 03/03/2006, you wrote:
>Okay ladies... how many of you have had hot flashes and found that
>your hand fans are your new best friend?
>
>I have been collecting hands fans for the past 10 years.  They had
>only come out of the drawer in the summertime when sitting by the 
>pool.  Now with the hot flashes, I carry them with me everywhere.  I 
>have one in every room of my house.  And I can color coordinate them 
>with my outfits?  Maybe a new trend for us going through the change!


You and me both Penny! I carry a little Chinese folding fan in my 
very small purse/handbag all the time. I pay 50p for them and buy 
them by the dozen, as they break, but I'd rather use them than my 
"good" collection of fans, which I had a habit of losing.

Suzi


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I'm sure both would look nice, but I'd prefer the silver cord couched on to 
the pearls... it sounds like it would be more in harmony with the rest of 
the pouch, and more of the same delicate look as the main embroidery. (I'm 
assuming the rest doesn't have any pearls in it?)  On the other hand, the 
contrast might be nice... However, pearls that size might make the pouch a 
bit less functional, though I don't know if function is exactly the main 
point here! =}

I'm looking forward to pictures of it! I hope you post them.

-E House 

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Subject: Re: [h-cost] Re: Goldwork
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[comments in-line, and lots of snips]

----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
Hiya,

<<I recently wrote some SCA competition documentation on
goldwork, that if my computer hadn't been blown up
recently, I'd offer to send to you.>>

E says: Doh!  I certainly would have been interested.  I don't think I'll be 
able to make it from Missouri to Ontario anytime soon, unfortunately.

<<Please excuse any spelling errors, I am
developing a cold and thus can't sleep, so no
accounting for the condition of my coherency.>>

E says: Oh dear.  Hope you get over it quickly! (Have you tried Zicam? It 
makes everything taste awful, but it works.)

<<I've not actually found it on *extant* headwear, per
se. To qualify, I am speaking *only* of purl/bullion
goldwork, not or nue or anglicanum. I have little
doubt that they used it on pillbox type hats ,
possibly coifs and partlets. Paintings show what looks
like its' use to me, but so little of the stuff exists
now because of recycling, I have no hard fast
evidence.>>

E says: I was afraid this would be the case.  Drea Leed has some pictures of 
late 16thC/early 17thC coifs, several of which have a type of goldwork, on 
her site:
http://costume.dm.net/headwear/coifpics.html
That would be the closest thing to an extant example I've seen, but it looks 
to me like embroidery with gold-wrapped thread rather than the purl/bullion 
stuff that screams "MAKE ME" at me whenever I see it.

There are a lot of portraits and paintings with something that, at least to 
my eye, just HAS to be the purl/bullion stuff, but I'd love to have 
something a tad more solid, like an extant piece or some contemporary 
manuscripts.  Or a nice manual from 1518 on how to do it.  Hey, why not 
dream big?

<<I've seen it on the girdler's coronet, but
that is 17th c. and at that, a repro of the original.
I was actually mentally running a list of extant
things I have seen it on dated roughly to the 16th c
(not being culturally specific):
garments - sleeves, foreparts, underwear, wedding
robes, Order robe appliques
accessories - gloves, sweete bags, shoes, reliquary
pouches
other - book covers, ecclesiastic garments, various
decor items, seal purses, needle cases...>>

E says: Very interesting!  That's certainly a lot more than I would have 
expected.  I'm in the process of looking through the extant garment section 
on one of the embroidery sites that was post earlier--hopefully I'll find 
some of these there.

<<Tanya is one of my main suppliers aside from the very
reasonably priced lady at Pennsic. Tammy Barnes, I
think her name is? I picked up loads of smooth purl
from her at a great price. IF you want to go hard core
and do the REAL thing, Lorina Stephens of Five Rivers
Champanry will happily lighten your load in exchange
for stuff no human hands deserve to touch. *grin*>>

E says: I've just been completely won over by Joady at Hedgehog Handworks, 
who has now done two very nice and completely unnecessary things (from her 
point of view) for me, so if what I need is something she has, I'll be 
getting it from her.  She doesn't have the real thing, though, so in a 
couple of years I'll be bugging Lorina!

E says: Thank you so much for the suggestions/reviews of books.  I'll be 
looking into those.  And I will feel better about what the back of my work 
looks like!  (Hey, I'll be tacking a lining over the back anyway, so why 
should I obsess?)

<<Hope that helps.>>

E says: Very much!  Thanks for the info and the great ideas, and go drink 
lots of liquids and get plenty of rest. =}

-E House

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From: Chris Laning <claning@igc.org>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Goldwork
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In case there's anyone who hasn't discovered it yet, there is lots of expertise on goldwork (as well as lots of other subjects) on the Historic Needlework list, which is hosted at:
http://www.ansteorra.org/mailman/listinfo/h-needlework

I know there's at least one expert on Elizabethan sweet bags on the list (not me!) :)

The H-Needlework list is actually a "child" of this list, in that it started from a discussion here of the idea that there ought to be a place where both costume-related and non-costume-related needlework could be discussed at length. It's a good bunch of folks and (need I say) very helpful.

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
http://paternoster-row.org  -  http://paternosters.blogspot.com
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Subject: [h-cost] Fit of a victorian bodice
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Thank you everyone for your help! Letting out the tops of the side seams just a smidge and then adding "dress improvers" seems to have done the trick :-)

Thank you very much!
	-sunny

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Subject: Re: [h-cost] The Change & Hand Fans
Date: Fri, 3 Mar 2006 20:59:14 -0500
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Suzi,

My mother buys me cheap little silk or lace fans.  I have been caring them 
around.

I have three antique fans that daughters have sold me with letters about how 
there mothers used them.  I like the personal stories that come with them. 
Their mothers had passed away, and they wanted someone to have them that 
would appreciate them.  One of the fans the Japanese mother had used her 
whole life.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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From: Kathryn Parke <kjp1685@yahoo.com>
Subject: RE: [h-cost] Alexandrian cap
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Ah, yes, of course -- how silly of me!  I love Heyer, and I should have remembered that!
   
  Yes, I found that page, too, and felt very cheated when it was just text.  I'm still having trouble picturing this, and wondering if Miss Heyer did indeed have a Phrygian hat in mind when she wrote that, but I guess we'll never know for sure!
   
  KP
  

Joannah Hansen <Joannah@sluggy.net> wrote:
  The reference you are thinking of comes from chapter 10 of 'Frederica' by Georgette Heyer.

'She had been the mistress of her father's household for too long to suffer agonies of shyness; the orange-blossom dress made for her by Miss Chibbet, and given a touch of a la modality by Charis's clever fingers, was just the thing for a lady who, without being precisely stricken in years, knew herself to be beyond marriageable age; the diamond necklace, bestowed by the late Mr Merriville on his wife, gave her dignity; and the little Alexandrian cap with which, deaf to Charis's protests, she completed her elegant toilette, clearly demonstrated that she was to be ranked amongst the dowagers.' 

' Frederica entered the room a little in advance of her sister, and paused for a moment, glancing swiftly round. The impression she created was one of elegance. Not even the Alexandrian cap could make her look in the least like a dowager; but the fashion of her orange-blossom crape, with its bodice cut in the Austrian style, the shawl of Albany gauze caught up over her elbows, the sparkle of diamonds round her throat, and, above all, her quiet assurance, clearly showed that she neither was, nor considered herself to be, a girl in her first bloom. She had more the appearance of a young matron, with several years' experience behind her.

Frederica was 24 years old, and was dressed for the ball at which her very beautiful younger sister was to 'come out' to Society.

The reference was fresh in my mind because I have just recently reread 'Frederica', for the umpteenth time.

I must say, I never got the impression that an Alexandrian cap was anything like a Phrygian cap.

I found this link ;

http://hal.ucr.edu/~cathy/lmm/lmm7-14.html

but unfortunately there isn't a picture to go with it.

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- kjp1685@yahoo.com wrote:

Well, this is really fascinating, because I read about it as a part of an ensemble worn to a Regency ball -- not a particularly young woman, but also (I believe), not of the old, turbaned dowager variety. I can't imagine such a thing being worn w/ a formal ballgown, and (although I don't claim to be a scholar by any means!) it seems especially incongruous w/ a high-waisted Regency dress in a light muslin or silk. (I'm not sure where I saw the original reference.) I had pictured something more like a Juliet cap -- have you ever seen such a cap on a woman, or in such a context?

Thanks for the image search! I'll have to explore using that more!

KP

"Susan B. Farmer" wrote:
Quoting Kathryn Parke :

> Alas, that helps me not -- what does a Phrygian style hat look like? : )
>

google image search is your friend
http://images.google.com/images?svnum=10&hl=en&lr=&q=phrygian+hat&btnG=Search

Susan
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From: "Kristalori (Bice)" <kristalori@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Alexandrian cap
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I *know* I've seen that hat on Regency Era fashion plates but I can't recall
where or what years. But I know I saw the hat. It was very stylish. I
checked both http://fashion-era.com/regency_taste.htm and
http://www.songsmyth.com/index.html and couldn't find it however. But it
wasn't a hat as well known as a turban but it was indeed popular enough to
be seen in a fashion plate..as I recall the versions I saw were in colors as
well. Reds, yellows and white.

Bice


On 3/3/06, Kathryn Parke <kjp1685@yahoo.com> wrote:
>
> Ah, yes, of course -- how silly of me!  I love Heyer, and I should have
> remembered that!
>
>   Yes, I found that page, too, and felt very cheated when it was just
> text.  I'm still having trouble picturing this, and wondering if Miss Heyer
> did indeed have a Phrygian hat in mind when she wrote that, but I guess
> we'll never know for sure!
>
>   KP
>
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Despite my love of pearls and dark red silk(!), I'd go with the silver too 
(unless there are pearls in the main design).

If the pearls are only at the edge it might look jarring or out of place.

Debbie

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Hi, Zuzana. I don't mean to sound disparaging, but, from what I have 
seen looking at one of these pages (the first, in fact) by Ms. White, 
this is a perfect example of the phrase "don't believe everything you 
read on the internet". With the impressive title of "Welcome to a 
History Lesson", I thought there might have been a little more research 
done on it. A number of the "facts" presented in the button section as 
well as the following ones (knitting and crochet) are totally incorrect, 
and none of the sources for these "facts" are even quoted.
 I especially liked the "fact" about Francis I. Doing some simple 
calculations based on the weight and size of a button of the period that 
I own in brass, and assuming that the button was 1/2 inch across and 
1/16th of an ounce, I have calculated that the buttons in brass (and 
remember silver and gold are heavier) weighed down the clothing to the 
tune of 53.15 pounds. Not much for a man accustomed to armor, but, 
basing the button size on 1/2 inch at 13,600 buttons, the buttons, 
pushed up next to each other, would take up a space of 50 inches by 68 
inches. Oddly enough, I've never seen a painting of such a remarkable 
garment. It would have looked like a Renaissance version of the pearl 
button clothing worn by Dick van Dyke from Mary Poppins. One would think 
that such a work would have been memorialized in art, but alas, no such 
painting has come to my attention.
. Perhaps the other references are better documented. Even the last, 
Stefan's Floriligium, which contains many gems of research within, in 
this case is merely a discussion which, as it is read, becomes visibly 
opinionated, or rather, filled with both opinions and facts. The facts 
are obvious, as they contain their documentation. I would advise 
crossreferencing any of the "facts" that you come across before deciding 
to use them. Good Luck, Mike T.


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From: "margaret" <m.p.decker@att.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re:Question on tenth century
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I want to star making some new stuff for my husband & my self  and need a 
good starting place for Tenth century clothing construction. I have a lot of 
pictures but nothing on construction.
Margaret 


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Subject: [h-cost] Re: History of Fans
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Does anyone know of any extant 15th or 16th century fans?  I am  curious as 
to materials used as well as techniques.  If any are in the  V&A, please let me 
know as I am planning a visit there.
 
Thank you,
 
Nancy Stengel Ulmer
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For REALLY cheap stuff to practice with, I've seen (and have a stash 
of) Christmas decorations that look like a slightly larger and 
coarser version of rough perl.  It's sold in packets as a look-alike 
for tinsel.  It is metal (I have some in pure copper and some in 
another metal colored blue).  I got it because I mostly do fantasy 
and SF costumes, and from a big stage the larger size and scale is a 
good thing.  But I think you could also use it like "muslin" - the $1 
/ yd stuff you don't care what color it is because it's just for 
practice.  I think this stuff was a couple of dollars a packet, 
enough to solidly cover a small evening bag.

Sandy

"Those Who Fail To Learn History
Are Doomed to Repeat It;
Those Who Fail To Learn History Correctly --
Why They Are Simply Doomed.

Achemdro'hm
"The Illusion of Historical Fact"
  -- C.Y. 4971

Andromeda  


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From: Caroline <carolineebuckley@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re:Question on tenth century
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Which country are you wanting Margaret?

On 03/03/06, margaret <m.p.decker@att.net> wrote:
>
> I want to star making some new stuff for my husband & my self  and need a
> good starting place for Tenth century clothing construction. I have a lot
> of
> pictures but nothing on construction.
> Margaret
>
>
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--
Caroline

"We don't stop playing because we grow old; we grow old because we stop
playing."
G B Shaw
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Subject: [h-cost] OT: More fabric for sale
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Greetings

I know I'm being naughty posting another commercial message but I do 
have another bunch of fabric to clear out.  They are on the same 
webpage that my long-suffering husband has done up for me.  If you're 
at all interested in any of it, please contact me at dannw at 
mn.rr.com and it is on a first come, first claim basis!

http://www.cyberiosity.com/FabricSale/Default.html

Cheers,
Danielle Nunn-Weinberg

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Subject: [h-cost] a good book deal...16th c. buffs
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Greetings,

While I'm being commercial, I thought I would point out this good 
deal I have found, this time I have no affiliation. : 
)  http://www.labyrinthbooks.com/  has a copy of David Starkey's "Six 
Wives: The Queens of Henry VIII" for $7.98
http://www.labyrinthbooks.com/all_detail.aspx?isbn=069401043X  I 
thought some of you might be interested.

Cheers,
Danielle

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Date: Sat, 04 Mar 2006 22:10:25 +1100
Subject: Re: [h-cost] OT: More fabric for sale
From: "Garden, A & J" <garden@earthlydelights.com.au>
To: Historical Costume <h-costume@indra.com>
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I'm interested in:

Regency bonnet. Violet with cream ribbons. Dupioni silk. Chenille striped
ribbons. Almost completely handsewn. Never worn.

Striped silk/cotton blend. Cream, dusty green silk, cotton. 10 yards @ 45"
wide. Stripes are parallel to selvedge - close-up colours are more accurate.

Indian plaid silk. Royal purple, metallic gold silk, metallic thread. 5
yards 6" @ 42" wide.

Stretchy striped boucle wool. Green and black wool. 5 1/4 yards @ 60" wide.
The stripes are perpendicular to the selvedge, and the black stripe is
somewhat sheer. 

What are your prices? And how much do they weigh?
Thanks, Aylwen

> From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Sat, 04 Mar 2006 05:04:57 -0600
> To: Historical Costume <h-costume@indra.com>
> Subject: [h-cost] OT: More fabric for sale
> 
> Greetings
> 
> I know I'm being naughty posting another commercial message but I do
> have another bunch of fabric to clear out.  They are on the same
> webpage that my long-suffering husband has done up for me.  If you're
> at all interested in any of it, please contact me at dannw at
> mn.rr.com and it is on a first come, first claim basis!
> 
> http://www.cyberiosity.com/FabricSale/Default.html
> 
> Cheers,
> Danielle Nunn-Weinberg
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: "Susan" <SCLARK935@AUSTIN.RR.COM>
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Subject: Re: [h-cost] OT: More fabric for sale
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I would like to know what you are asking for the 2 pieces of royal blue 
duchesse satin.

Thanks,
Susan

----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 04, 2006 5:04 AM
Subject: [h-cost] OT: More fabric for sale


> Greetings
>
> I know I'm being naughty posting another commercial message but I do have 
> another bunch of fabric to clear out.  They are on the same webpage that 
> my long-suffering husband has done up for me.  If you're at all interested 
> in any of it, please contact me at dannw at mn.rr.com and it is on a first 
> come, first claim basis!
>
> http://www.cyberiosity.com/FabricSale/Default.html
>
> Cheers,
> Danielle Nunn-Weinberg
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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Date: Sat, 04 Mar 2006 05:54:53 -0600
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] OT: More fabric for sale
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Hi Susan,

The 5 1/2 yard piece is $75 and the 1 1/2 yard piece is $20.  Thank 
you for your interest.

Cheers,
Danielle

At 05:33 AM 3/4/2006, you wrote:
>I would like to know what you are asking for the 2 pieces of royal 
>blue duchesse satin.
>
>Thanks,
>Susan
>
>----- Original Message ----- From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Saturday, March 04, 2006 5:04 AM
>Subject: [h-cost] OT: More fabric for sale
>
>
>>Greetings
>>
>>I know I'm being naughty posting another commercial message but I 
>>do have another bunch of fabric to clear out.  They are on the same 
>>webpage that my long-suffering husband has done up for me.  If 
>>you're at all interested in any of it, please contact me at dannw 
>>at mn.rr.com and it is on a first come, first claim basis!
>>
>>http://www.cyberiosity.com/FabricSale/Default.html
>>
>>Cheers,
>>Danielle Nunn-Weinberg

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Subject: [h-cost] Re: Goldwork
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Computer is back up and running again. Just tell me
where you would like me to send it.

> E says: Doh!  I certainly would have been
> interested. 

It sounds vaguely familiar, probably from commercials.
Im in Canada, so Im not sure we have it. I'll keep my
eyes open for it. This cold has hit me fast with an
intensity that suggests the gods are punishing me for
something as of yet undefined. ;-) Still haven't
figured out the connection between the eye infection
and the cold though. Seems to be a recent development;
every time I get a cold, I get a minor general
infection in my eye.

> E says: Oh dear.  Hope you get over it quickly!
> (Have you tried Zicam? 

These definitely fall under the general heading of
goldwork because they contain either passing or jap
threads. Basically jap thread is a much heavier
version of passing. It's a bigger pain to work with
too for anything other than couching. Just plunging
the ends through for couching is a pain, I wouldn't
want to try and actually pass that stuff through
fabric repeatedly. A good indication if something was
likely to have been done with jap thread (which has
existed forever) or purl is the date. I remember
reading somewhere that purl wasn't invented until they
would make a strong enough draw plate to make wires
that thin. Jap thread is made with beaten gold cut
into fine strips, thus doesn't need a draw plate.
Memory, as foggy as it is, is ringing a date to
something like post 1500. Draw plates have been around
since the Roman times, so I'd have to retrack my path
to confirm this memory on why there is a difference.

> E says: I was afraid this would be the case.  Drea
> Leed has some pictures of 
> late 16thC/early 17thC coifs, several of which have
> a type of goldwork, on 
> her site:
> http://costume.dm.net/headwear/coifpics.html

I'm binding a book for this very reason. :-) I could
have just scribbled notes on a piece of paper but
noooooo.. I have to go binding those papers just so I
can cover it in goldwork!

> stuff that screams "MAKE ME" at me whenever I see
> it.

If you are being particular, you're not likely to find
any. But if say you are willing to accept non-european
or ecclesiastic head wear, you are more likely to find
something. I think there is a miter out there loaded
with the stuff. I can't think offhand where at the
moment. Thing is, back then, this was pure gold. When
the church or whomever owned an item covered in this
stuff was in a pinch, they would burn the object to
render the gold from it. 

If you find one of these, share it with the rest of
us, would you? ;-) 

Or a nice manual from 1518 on how to
> do it.  Hey, why not 
> dream big?

If you take a wander into the roccoco period, you'll
find sparkly bits that'll rock your world. :-) They
are so shiny they are to the point of garish
sometimes. Well, they were back then. They are often
badly tarnished today. The underwear I saw at the Met
covered in the stuff looks like black and brown
embroidery because of the heavy tarnish all over the
purls. It'll be exciting to reproduce those and see
what they would have looked like when they were first
made.

> E says: Very interesting!  That's certainly a lot
> more than I would have 
> expected.   

Knots are period!!

And I will feel better about
> what the back of my work 
> looks like!  

You're quite welcome. :-) And yes I will. I'm sweating
most of it out - I'm certainly sympathising with the
ladies going through the Change at the moment! I swing
between freezing and roasting. Blech.

> E says: Very much!  Thanks for the info and the
> great ideas, and go drink 
> lots of liquids and get plenty of rest. =}

Good Luck. Don't get *too* addicted. ;-)

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20060304140831.11157.qmail@web52102.mail.yahoo.com>
Subject: Re: [h-cost] Re: Goldwork
Date: Sat, 4 Mar 2006 08:17:59 -0700
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Sue says:  One word.  Sinuses.  <g>  Sinuses, nose, eyes, tearducts, ears,
eustacian tubes (sp?), all part of the same face.  What impacts one part
with a cold (usually the sinuses with me) can definitely affect other parts.
A few years ago, I got a god-awful cold that morphed into a decent sinus
infection (bacteria pig-backing into an already-weakened system, I'm
assuming), and as an additional "present" from the germs, I got pink-eye!
Didn't know what it was, and when I finally gave in and went to the doctor,
he said it was a side-effect of the really bad sinus infection.  Nasty,
nasty bacteria!  Lovely, lovely antibiotics!
Obligatory costume content: A bunch of us in my local SCA group have decided
to band together and reserve a large meeting room at our local library as a
space in which we can cut out fabric.  We have gotten to the point of not
having anything in the garb closet except decades-old "shabby but still
kinda wearable" stuff.  From the discussions, it sounds like the newest
fashion trend in my part of the historical costuming world will be 9th-11th
century Norse.  I'll finally have a "reason" and not a "someday I'll use it"
excuse for the hoard of amber beads, and the lovely brooches from Raymond's
Quiet Press.  I have a completely "ripened" stash of wool and linen for
this, and it's snowing outside (just in time for the weekend!), so it's a
great couple of days for historical costuming!
--Sue in March-y Montana, who once took a wonderful class on goldwork from
Lin Skinner....*sigh*....I'd love to do it again! ;o)

----- Original Message -----
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: <h-costume@indra.com>
Sent: Saturday, March 04, 2006 7:08 AM
Subject: [h-cost] Re: Goldwork


> Computer is back up and running again. Just tell me
> where you would like me to send it.
>
> > E says: Doh!  I certainly would have been
> > interested.
>
> It sounds vaguely familiar, probably from commercials.
> Im in Canada, so Im not sure we have it. I'll keep my
> eyes open for it. This cold has hit me fast with an
> intensity that suggests the gods are punishing me for
> something as of yet undefined. ;-) Still haven't
> figured out the connection between the eye infection
> and the cold though. Seems to be a recent development;
> every time I get a cold, I get a minor general
> infection in my eye.


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Sue Clemenger wrote:


> Obligatory costume content: A bunch of us in my local SCA group have decided
> to band together and reserve a large meeting room at our local library as a
> space in which we can cut out fabric. 

That's a great idea! I think I'll look into doing that when I cut my 
17th century coat. Both of them. Right now I mostly cut on our queen 
size bed, but that has its limitations. And there's no floor space wider 
than about 4 feet... not that I would put my fabric on my floor....


Dawn

A clean house is a sign of a wasted life



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We've done it before, and it doesn't cost us a darned thing.  It's a pretty
good-sized space, with good-sized tables, and a carpeted floor.  We have to
reserve in advance, etc., and it may help that one of our members is the
Reference Librarian <weg>, but it's amazing what you can find out in your
community, even in a town the size of Missoula, which is Pretty Darned Big
on the Montana scale of things (60, 65? thousand?, second largest in the
state), but relatively small compared to other states and locales.
You might also try your fire stations.  We have regular meetings in the
community room/classroom at a rural fire station near where I work.
All in all, a LOT easier than trying to cut on a bed, or on a very small
apartment floor when there are four "cat critics" more than willing to
rumple things, or become weights on your pattern....
--Sue

----- Original Message -----
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 04, 2006 9:10 AM
Subject: Re: [h-cost] cutting fabric


> Sue Clemenger wrote:
>
>
> > Obligatory costume content: A bunch of us in my local SCA group have
decided
> > to band together and reserve a large meeting room at our local library
as a
> > space in which we can cut out fabric.
>
> That's a great idea! I think I'll look into doing that when I cut my
> 17th century coat. Both of them. Right now I mostly cut on our queen
> size bed, but that has its limitations. And there's no floor space wider
> than about 4 feet... not that I would put my fabric on my floor....
>
>
> Dawn
>
> A clean house is a sign of a wasted life


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re:Question on tenth century
Date: Sat, 4 Mar 2006 12:47:46 -0500
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On Friday 03 March 2006 6:42 pm, margaret wrote:
> I want to star making some new stuff for my husband & my self  and need a
> good starting place for Tenth century clothing construction. I have a lot
> of pictures but nothing on construction.

There are a number of web sites that can help.

This one lists the basic construction stitches found in Viking/Saxon clothing, 
with illustrative drawings:

http://www.42nd-dimension.com/NFPS/nfps_stitches.html

This one discusses types of seams and stitches used in that period, among 
other things:

http://www.cs.vassar.edu/~capriest/asvembroid.html


This site focuses on Viking tunic construction; although it's based on Viking 
finds in particular, non-Viking finds in the same period are not too 
dissimilar.  Moreover, though it's based on what are probable male tunic 
finds, similar patterns can be used for female tunics by adjusting the 
length.

http://www.cs.vassar.edu/~capriest/viktunic.html

Finally, here are two web sites with specific directions on how to make a 
generically early period tunic:  

http://www.reconstructinghistory.com/beginners/FirstGarb.html
(geared toward total beginners, but with interesting information about 
selecting period fabrics, and construction).

http://www.virtue.to/articles/tunic_worksheet.html
(More sophisticated; requires more measurements and some arithmetic, but I've 
used it and the results are good.)

And here's a bibliography of sources about actual finds (again Viking based 
but not a bad place to start) so you can research construction issues in more 
detail if you wish.

http://www.cs.vassar.edu/~capriest/vikgarment.html

Good luck!

-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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Thanks for all the info, Lorina... In a couple of years, I may be putting 
together an order for the rarefied stuff!

-E House 

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From: "Susan" <SCLARK935@AUSTIN.RR.COM>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] OT: More fabric for sale
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Thanks for the info, I'm afraid I'm going to have to hold off on this :(

Thanks,
Susan

----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 04, 2006 5:54 AM
Subject: Re: [h-cost] OT: More fabric for sale


> Hi Susan,
>
> The 5 1/2 yard piece is $75 and the 1 1/2 yard piece is $20.  Thank you 
> for your interest.
>
> Cheers,
> Danielle
>
> At 05:33 AM 3/4/2006, you wrote:
>>I would like to know what you are asking for the 2 pieces of royal blue 
>>duchesse satin.
>>
>>Thanks,
>>Susan
>>
>>----- Original Message ----- From: "Danielle Nunn-Weinberg" 
>><dannw@mn.rr.com>
>>To: "Historical Costume" <h-costume@indra.com>
>>Sent: Saturday, March 04, 2006 5:04 AM
>>Subject: [h-cost] OT: More fabric for sale
>>
>>
>>>Greetings
>>>
>>>I know I'm being naughty posting another commercial message but I do have 
>>>another bunch of fabric to clear out.  They are on the same webpage that 
>>>my long-suffering husband has done up for me.  If you're at all 
>>>interested in any of it, please contact me at dannw at mn.rr.com and it 
>>>is on a first come, first claim basis!
>>>
>>>http://www.cyberiosity.com/FabricSale/Default.html
>>>
>>>Cheers,
>>>Danielle Nunn-Weinberg
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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From h-costume-bounces@indra.com  Sat Mar  4 14:01:19 2006
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Subject: [h-cost] Tee Hee-Was: Non-Elizabethan Tudor Corset a Myth! (was
	Princess	Elizabeth)
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Status: RO

Along these thoughts I had a funny experience a few weeks ago.  I needed 
to purchase a new sport bra for use while riding horses.  I had heard 
that the Enell bras *http://tinyurl.com/hgbfl *were the best.  When I 
opened the package, my first thought was-jeez, I could have made this.  
Not sure what I was expecting, and yes,  I should have known by the 
pictures, but they are basically a snug fitting bodice!  Were it not for 
the ugly seam that runs right across the nipple, I could practically use 
it under some of my earlier garments. 

Ahhh, how fashion and function runs in a great circle.....

Sg :-P
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Status: RO

I was so fortunate, to get an invitation for a lovely winter gathering at 
Reine des Centfeuilles and her family.
The gathering was from friday evening, til sunday noon.
It was lovely to meet some of the Lumieres german members.
The generousity of Maurita her family is endless, and i was guest in their 
house all 3 days. Highlight of it all was my first sleap in a real alcove. 
Mauritia and Kim had made everything so lovely, and their cooking was 
deliscious.
Here i send you a link for some pictures of the event.
http://www.my-drewscostumes.dk/soiredhiver.htm
I want to thank the whole family for their warmth and generousity. I got 
many lovely memories from that week end. I am in endless gratitute to them 
all.

Christian Ludvig de Vollanges..........







Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/

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From: Lavolta Press <fran@lavoltapress.com>
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What do you want for the 10 yards of striped silk/cotton blend on cream 
and dusty green?

Fran
Lavolta Press
http://www.lavoltapress.com

Danielle Nunn-Weinberg wrote:

> Hi Susan,
> 
> The 5 1/2 yard piece is $75 and the 1 1/2 yard piece is $20.  Thank you 
> for your interest.
> 
> Cheers,
> Danielle

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From: "Land of Oz" <landofoz@netins.net>
To: "Historical Costume" <h-costume@indra.com>
References: <6.2.1.2.0.20060226153031.03593be0@64.87.54.245>	<BAY101-DAV1015F82B9877E4EB484643BCF70@phx.gbl>	<001f01c63c86$2757fd80$e100a8c0@compaqub><6.2.1.2.0.20060228201915.0371dc08@64.87.54.245>
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Subject: Re: [h-cost] Tee Hee
Date: Sat, 4 Mar 2006 13:14:05 -0600
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I would think the "ugly seam that runs right across the nipple" is going to 
cause you some serious discomfort if you ride for very long at any faster 
than a walk!

Denise

> Along these thoughts I had a funny experience a few weeks ago.  I needed 
> to purchase a new sport bra for use while riding horses.  I had heard that 
> the Enell bras *http://tinyurl.com/hgbfl *were the best.  When I opened 
> the package, my first thought was-jeez, I could have made this.  Not sure 
> what I was expecting, and yes,  I should have known by the pictures, but 
> they are basically a snug fitting bodice!  Were it not for the ugly seam 
> that runs right across the nipple, I could practically use it under some 
> of my earlier garments.

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Subject: [h-cost] re: soir? d?hiver
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Bjarne - thank you so much for these lovely photos.
What a wonderful weekend you look to have had! Now I
want to do 18th century!!!
Katherine
p.s. can you remind me of the name of the loose gown
the gentleman is wearing along with the matching
'turban'? It's gone clean out of my head :-)

"A positive attitude may not solve all of your problems, but it will 
annoy enough people to make it worth the effort" - Herm Albright


		
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] re: soir? d?hiver
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Dear Katherine.
Yes i was green of envy of him, his outfit is a Banyan.
I want, i want, i want.
And some slippers...............
Mauritia made this off cause..

Bjarne


----- Original Message ----- 
From: "katherine sanders" <katherinejsanders@yahoo.co.uk>
To: <h-costume@mail.indra.com>
Sent: Saturday, March 04, 2006 8:24 PM
Subject: [h-cost] re: soir? d?hiver


> Bjarne - thank you so much for these lovely photos.
> What a wonderful weekend you look to have had! Now I
> want to do 18th century!!!
> Katherine
> p.s. can you remind me of the name of the loose gown
> the gentleman is wearing along with the matching
> 'turban'? It's gone clean out of my head :-)
>
> "A positive attitude may not solve all of your problems, but it will
> annoy enough people to make it worth the effort" - Herm Albright
>
>
>
> ___________________________________________________________
> To help you stay safe and secure online, we've developed the all new 
> Yahoo! Security Centre. http://uk.security.yahoo.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 


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Date: Sat, 04 Mar 2006 13:36:03 -0600
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Subject: [h-cost] Re: History of Fans
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No , but I happened across a lovely folding fan from late Roman in N. 
England at the Yorkshire Museum in York. I think that I have a picture 
around here somewhere if anyone is interested.

Beth

At 10:09 AM 3/4/2006, you wrote:
>Date: Fri, 3 Mar 2006 23:39:13 EST
>From: MaddNancy@aol.com
>
>Does anyone know of any extant 15th or 16th century fans?  I am  curious as
>to materials used as well as techniques.  If any are in the  V&A, please 
>let me
>know as I am planning a visit there.
>
>Thank you,
>
>Nancy Stengel Ulmer

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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: History of Fans
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Hi Nancy!

How are things down South??

I have a book on Fans-- I think there are a few-- but most seem to
concentrate on 17th C and beylon. I'd love to know, too!

Monica Spence
(Catriona MacDuff in the SCA)



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Beth and Bob Matney
Sent: Saturday, March 04, 2006 2:36 PM
To: h-costume@indra.com
Subject: [h-cost] Re: History of Fans


No , but I happened across a lovely folding fan from late Roman in N.
England at the Yorkshire Museum in York. I think that I have a picture
around here somewhere if anyone is interested.

Beth

At 10:09 AM 3/4/2006, you wrote:
>Date: Fri, 3 Mar 2006 23:39:13 EST
>From: MaddNancy@aol.com
>
>Does anyone know of any extant 15th or 16th century fans?  I am  curious as
>to materials used as well as techniques.  If any are in the  V&A, please
>let me
>know as I am planning a visit there.
>
>Thank you,
>
>Nancy Stengel Ulmer

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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: History of Fans
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Oh yes please!!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Beth and Bob Matney
Sent: Saturday, March 04, 2006 2:36 PM
To: h-costume@indra.com
Subject: [h-cost] Re: History of Fans


No , but I happened across a lovely folding fan from late Roman in N.
England at the Yorkshire Museum in York. I think that I have a picture
around here somewhere if anyone is interested.

Beth

At 10:09 AM 3/4/2006, you wrote:
>Date: Fri, 3 Mar 2006 23:39:13 EST
>From: MaddNancy@aol.com
>
>Does anyone know of any extant 15th or 16th century fans?  I am  curious as
>to materials used as well as techniques.  If any are in the  V&A, please
>let me
>know as I am planning a visit there.
>
>Thank you,
>
>Nancy Stengel Ulmer

_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-bounces@indra.com  Sat Mar  4 16:22:54 2006
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From: Kathryn Parke <kjp1685@yahoo.com>
Subject: Re: [h-cost] re: soir? d?hiver
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It's a banyan, isn't it?  KP
  

katherine sanders <katherinejsanders@yahoo.co.uk> wrote:
  Bjarne - thank you so much for these lovely photos.
What a wonderful weekend you look to have had! Now I
want to do 18th century!!!
Katherine
p.s. can you remind me of the name of the loose gown
the gentleman is wearing along with the matching
'turban'? It's gone clean out of my head :-)

"A positive attitude may not solve all of your problems, but it will 
annoy enough people to make it worth the effort" - Herm Albright



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From h-costume-bounces@indra.com  Sat Mar  4 17:17:01 2006
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Subject: [h-cost] Piecework!
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Hey there, Folk,
Have you seen the latest Piecework, yet? "Garden Embroidery" with snippets of  a stomacher and an Eliza. purse, plus a lovely coverlet all in florals.  There is also a presentation of Stumpwork with instructions and a project.  Knit cuffs that might be useful for the reinactor,and a wonderful 'penny rug' for contemplation by the 19th C, folk.  There is also an article on collecting and caring for household textiles (including a handful of 'naughty pincushions' that I have not seen before).  And finally, a calendar of textile events and shows from around the country.
Now there is a summer vacation to think about...
Alas, now to make it through April Fool's Day, which I will be celebrating  up in West Moreland Cty (Pa.) presenting "Baubles, Bangles, and Beads", another vintage/antique fashion show for a fundraiser for a service club scholarship program. I will be trotting our some of my beaded and fancy clothes one more time...

Kathleen 

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Status: RO

Just got a new catalog of the exhibit "Mit grossen Freuden, Triumph and 
Kostlichkeit" in today. Item #31 (pp80-81) is a lovely gold on blue Brise 
Fan (Italian) from the beginning of the 17th century (Inventory # R6125). 
The book is:

Textile Schätze Aus Renaissance Und Barock Aus Den Sammlungen Des 
Bayerischen Nationalmuseums by Borkopp-Restle, B.  ISBN 3925058486

Beth

At 10:09 AM 3/4/2006, you wrote:
>Date: Fri, 3 Mar 2006 23:39:13 EST
>From: MaddNancy@aol.com
>
>Does anyone know of any extant 15th or 16th century fans?  I am  curious as
>to materials used as well as techniques.  If any are in the  V&A, please 
>let me
>know as I am planning a visit there.
>
>Thank you,
>
>Nancy Stengel Ulmer


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Subject: Re: [h-cost] RE: Goldwork
Date: Sat, 4 Mar 2006 17:31:39 -0500
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On the subject of gold work:
I picked up a very interesting volume last year that has been tweaking my
curiosity enough to go looking for some gold threads.  The title is "The
Stumpwork, Goldwork and Surface Embroidery Beetle Collection" every kind of
beetle and related bug imaginable is reproduced in needlework...  I picked
it up with the idea of getting inspired to do some of the bees that are
found on textiles from the 16th/19th C.  particularly during the First
French Empire (Napoleon and Josephine)
It is awesome!  When this whole discussion re gold work came about, I pulled
it off the shelf again...Something new to catch my finger's fancy...
Kathleen

----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 04, 2006 12:54 PM
Subject: Re: [h-cost] RE: Goldwork


> Thanks for all the info, Lorina... In a couple of years, I may be putting
> together an order for the rarefied stuff!
>
> -E House
>
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Date: Sat, 04 Mar 2006 18:08:09 -0500
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Goldwork
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Quoting Lloyd Mitchell <rmitchell@washjeff.edu>:

> On the subject of gold work:
> I picked up a very interesting volume last year that has been tweaking my
> curiosity enough to go looking for some gold threads.  The title is "The
> Stumpwork, Goldwork and Surface Embroidery Beetle Collection" every kind of
> beetle and related bug imaginable is reproduced in needlework...  I picked
> it up with the idea of getting inspired to do some of the bees that are
> found on textiles from the 16th/19th C.  particularly during the First
> French Empire (Napoleon and Josephine)

Is there much 16th C (or earlier) things in there?  That sounds like
something that I'd like to get!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Date: Sun, 5 Mar 2006 10:20:57 +1100 (EST)
From: Bella <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Re: History of Fans
To: Historical Costume <h-costume@indra.com>
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Nancy, there's a gilt brass handle for a feather fan in the V&A. It's from Venice, c1550. Go to the V&A's collections search page at http://tinyurl.com/5ofgk and enter the handle's museum number - 105-1882. 
   
   
   
  Bella
  The Realm of Venus
   
   
  
MaddNancy@aol.com wrote:
  Does anyone know of any extant 15th or 16th century fans? I am curious as 
to materials used as well as techniques. If any are in the V&A, please let me 
know as I am planning a visit there.

Thank you,

Nancy Stengel Ulmer

		
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Subject: Re: [h-cost] RE: Goldwork
Date: Sat, 4 Mar 2006 19:26:43 -0500
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It does not present items from history as much as demonstrating how to
replicate these insects in stump work...using a lot of gold threads.  It
does speak plainly about handling the necessary fibers and the possible
pit-falls of same.  The illustrations themselves could be from a 'chapbook'
of field studies of beetles (and some of their friends and relations).
You might contact me privately about how you could have a 'look-see' before
you invest in this volume.
----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 04, 2006 6:08 PM
Subject: Re: [h-cost] RE: Goldwork


> Quoting Lloyd Mitchell <rmitchell@washjeff.edu>:
>
> > On the subject of gold work:
> > I picked up a very interesting volume last year that has been tweaking
my
> > curiosity enough to go looking for some gold threads.  The title is "The
> > Stumpwork, Goldwork and Surface Embroidery Beetle Collection" every kind
of
> > beetle and related bug imaginable is reproduced in needlework...  I
picked
> > it up with the idea of getting inspired to do some of the bees that are
> > found on textiles from the 16th/19th C.  particularly during the First
> > French Empire (Napoleon and Josephine)
>
> Is there much 16th C (or earlier) things in there?  That sounds like
> something that I'd like to get!
>
> Susan
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: Re: [h-cost] Re:Question on tenth century
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Ireland for husband, Florence for myself.
----- Original Message ----- 
From: "Caroline" <carolineebuckley@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 04, 2006 2:02 AM
Subject: Re: [h-cost] Re:Question on tenth century


Which country are you wanting Margaret?

On 03/03/06, margaret <m.p.decker@att.net> wrote:
>
> I want to star making some new stuff for my husband & my self  and need a
> good starting place for Tenth century clothing construction. I have a lot
> of
> pictures but nothing on construction.
> Margaret
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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--
Caroline

"We don't stop playing because we grow old; we grow old because we stop
playing."
G B Shaw
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From h-costume-bounces@indra.com  Sun Mar  5 02:39:36 2006
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From: "Joannah Hansen" <Joannah@SLUGGY.NET>
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Subject: Re: [h-cost] Re: Goldwork
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And here's some pictures - probably more than you really want to know - so now you can visualise exactly why you get an eye infection ( or an ear infection )when you get a cold. ( Sorry, but I worked in an Ear,Nose & Throat ward for 4 years. ) 

http://www.webmd.com/hw/health_guide_atoz/hw208295.asp

http://www.commoncold.org/cmplcat1.htm

Joannah.

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- mooncat@in-tch.com wrote:

Sue says:  One word.  Sinuses.  <g>  Sinuses, nose, eyes, tearducts, ears,
eustacian tubes (sp?), all part of the same face.  What impacts one part
with a cold (usually the sinuses with me) can definitely affect other parts.
A few years ago, I got a god-awful cold that morphed into a decent sinus
infection (bacteria pig-backing into an already-weakened system, I'm
assuming), and as an additional "present" from the germs, I got pink-eye!
Didn't know what it was, and when I finally gave in and went to the doctor,
he said it was a side-effect of the really bad sinus infection.  Nasty,
nasty bacteria!  Lovely, lovely antibiotics!
Obligatory costume content: A bunch of us in my local SCA group have decided
to band together and reserve a large meeting room at our local library as a
space in which we can cut out fabric.  We have gotten to the point of not
having anything in the garb closet except decades-old "shabby but still
kinda wearable" stuff.  From the discussions, it sounds like the newest
fashion trend in my part of the historical costuming world will be 9th-11th
century Norse.  I'll finally have a "reason" and not a "someday I'll use it"
excuse for the hoard of amber beads, and the lovely brooches from Raymond's
Quiet Press.  I have a completely "ripened" stash of wool and linen for
this, and it's snowing outside (just in time for the weekend!), so it's a
great couple of days for historical costuming!
--Sue in March-y Montana, who once took a wonderful class on goldwork from
Lin Skinner....*sigh*....I'd love to do it again! ;o)

----- Original Message -----
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>

> Computer is back up and running again. Just tell me
> where you would like me to send it.
>
> > E says: Doh!  I certainly would have been
> > interested.
>
> It sounds vaguely familiar, probably from commercials.
> Im in Canada, so Im not sure we have it. I'll keep my
> eyes open for it. This cold has hit me fast with an
> intensity that suggests the gods are punishing me for
> something as of yet undefined. ;-) Still haven't
> figured out the connection between the eye infection
> and the cold though. Seems to be a recent development;
> every time I get a cold, I get a minor general
> infection in my eye.
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Can someone point me in the right direction for info/resources on best washing methods fof various natural fabrics, especially linen and wool. I know that many of my off the rack 'modern' clothes specify dry cleaning, but if I were to wash my linen and wool yardage first (cool water of course), would that make the finished garment washable by the same method as well without too much risk of shrinkage? It would be so much simpler.
   
  Thanks,
  Annette M

		
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing) question
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On Sun, 5 Mar 2006, Kahlara wrote:

> Can someone point me in the right direction for info/resources on best
> washing methods fof various natural fabrics, especially linen and
> wool. I know that many of my off the rack 'modern' clothes specify dry
> cleaning, but if I were to wash my linen and wool yardage first (cool
> water of course), would that make the finished garment washable by the
> same method as well without too much risk of shrinkage? It would be so
> much simpler.

No web page, but ... I always wash my wool and linen first, and usually
silk too. Wool and silk on cool. Linen on hot if it is undyed, usually
warm if it is dyed.

In fact, I may wash wool several times first. I want to get as much as
possible of the shrinkage done before I cut it.

--Robin

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From h-costume-bounces@indra.com  Sun Mar  5 08:50:45 2006
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To: "Historical Costume" <h-costume@indra.com>
References: <20060305131034.4924.qmail@web35611.mail.mud.yahoo.com>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing) question
Date: Sun, 5 Mar 2006 08:52:13 -0500
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It has been my experience that much of the clothing bought today is labeled
'dry clean only' because of the combination of fibers and materials that are
unknown and may not be washable to the same extent.  We have become such a
wash/dry society and expect everything to be instantly wearable.
 The one thing I remember from Home Ec as it was still being taught in the
1950s was the basic instructions about clothing care which included 'airing,
spot cleaning, hand washing and the like. I grew up with a ringer washer and
that taught me another aspect about washing that most contemporary people
cannot even conceive.
Washing all the fabric and interfacing and even most trims will allow you to
continue to wear your garment with the confidence that it will remain as
presentable as when it rolled off your sewing table.

Any of you out there remember the Talon Zipper ads?
Kathleen

----- Original Message ----- 
From: "Kahlara" <kahlara@yahoo.com>
To: <h-costume@indra.com>
Sent: Sunday, March 05, 2006 8:10 AM
Subject: [h-cost] abuse of fabrics (aka care and washing) question


> Can someone point me in the right direction for info/resources on best
washing methods fof various natural fabrics, especially linen and wool. I
know that many of my off the rack 'modern' clothes specify dry cleaning, but
if I were to wash my linen and wool yardage first (cool water of course),
would that make the finished garment washable by the same method as well
without too much risk of shrinkage? It would be so much simpler.
>
>   Thanks,
>   Annette M
>
>
> ---------------------------------
> Yahoo! Mail
> Bring photos to life! New PhotoMail  makes sharing a breeze.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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To: "Historical Costume" <h-costume@indra.com>
References: <20060305131034.4924.qmail@web35611.mail.mud.yahoo.com>
	<000b01c6405c$03b06aa0$8d5083d1@rmitchellras>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing) question
Date: Sun, 5 Mar 2006 08:52:35 -0700
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The "dry cleaning" instructions have as much to do with the dyes as anything
(at least according to an old friend who runs one of his family's cleaning
businesses).  So you may have a normally washable fiber, but one colored
with a dye that will turn fugitive with repeated washings.
I treat my silks/linens/wools similar to the way that Robin does (in her
email), although I think I'm a little more apt to be meaner to my wools, and
have very little experience with finer silks.  Most knowledgeable people
that I've spoken to or learned from directly will say that pre-cutting
fabric treatments (washing, drying, etc.) should mimic the treatments you'll
give the finished garments.  And I'd think that your initial treatment of
your wool fabrics might vary a little depending on the weave structure and
what type of garment you're planning on making.  You may want to make a wool
gown, for instance, that is fulled, obscuring the weave and producing a
thicker, warmer fabric (easier with plain weaves, and "woolen" fabrics as
distinct from "worsted" fabrics).  You can then subject your wool to more
abuse to full it.
Or you may wish to keep your wool un-fulled, as with worsteds, which resist
fulling anyways.  For these, cool water or drycleaning would be best (and
yes, that part's personal knowledge! I ruined a very nice $35/yd wool SCA
cloak by washing it *after* I'd made it...what's left might make a very
nice, very warm apron dress for a Norse outfit!)
One additional point....Watch the decorations you put on your garments.
Some stuff won't survive drycleaning (fake pearls being one example), so you
might end up hand-washing stuff, or spot-cleaning it (which works really
well if you're neat and tidy, and is pretty useless if you're a slob the way
I am--I get anything dirty! ;o)
If you choose to handwash items (either because of the fragility or other
characteristics of the fabric, or because you've added trims, beads, whatnot
that would not withstand regular cleaning or drycleaning), be careful that
you don't agitate or squeeze or otherwise rub your garment layers together.
Especially with garments made of wool.  This can cause small-scale fulling
and felting, which you might not want!  (Of course, the opposite is also
true--it's quite possible to deliberately felt a woolen item by hand.  I've
done it in my kitchen sink to a knitted-and-felted 16th century flat cap.)
--Sue

----- Original Message -----
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 05, 2006 6:52 AM
Subject: Re: [h-cost] abuse of fabrics (aka care and washing) question


> It has been my experience that much of the clothing bought today is
labeled
> 'dry clean only' because of the combination of fibers and materials that
are
> unknown and may not be washable to the same extent.  We have become such a
> wash/dry society and expect everything to be instantly wearable.


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From h-costume-bounces@indra.com  Sun Mar  5 11:25:17 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Sun, 5 Mar 2006 11:13:32 +0100
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Subject: [h-cost] difference of the sexes
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Hi.
When i went to Frankfurt recently, we disgussed this strange thing that all 
of us has noticed.
All gentlements garments in 18th century is lined with silk, but all ladies 
garments lined with linnen?
Is there any natural explantation of this?
Also Mauritia told me, when working on the wedding suit of Christian VII, 
that his suit was lined with linnen, very unusuall. I told her, that perhaps 
it was because of the insanity of the king ( he was suffering of 
skitsofrenia), and that perhaps he used to sweat exceptionally much because 
of this? I have no idea of that, but back to the difference of the sexes, 
why do you think they did this?

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] abuse of fabrics (aka care and washing) question
Date: Sun, 5 Mar 2006 14:15:54 +0100
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Hi Anette,
When i made my shirt in the fine linnen, i machine washed it before and used 
a high temperature. Then the linnen will shrink nicely and the shirt will 
never shrink any more.
Because i have edged the shirt with fine cotton laces, i only handwash it 
now, but it works fine to pre wash the fabric.

Bjarne
----- Original Message ----- 
From: "Kahlara" <kahlara@yahoo.com>
To: <h-costume@indra.com>
Sent: Sunday, March 05, 2006 2:10 PM
Subject: [h-cost] abuse of fabrics (aka care and washing) question


> Can someone point me in the right direction for info/resources on best 
> washing methods fof various natural fabrics, especially linen and wool. I 
> know that many of my off the rack 'modern' clothes specify dry cleaning, 
> but if I were to wash my linen and wool yardage first (cool water of 
> course), would that make the finished garment washable by the same method 
> as well without too much risk of shrinkage? It would be so much simpler.
>
>  Thanks,
>  Annette M
>
>
> ---------------------------------
> Yahoo! Mail
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] abuse of fabrics (aka care and washing) question
Date: Sun, 5 Mar 2006 10:40:54 -0600
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My information is that dry cleaning helps preserve the fabric treatments
used by the manufacturer- either fabric or clothing processes; so fabric of
wool, linen, silk or combinations thereof, _can_ be washed, just be prepared
for the size/hand/texture to change. (Personally I toss it all in the washer
on cold and let the chips, er, scraps fall where they may.)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kahlara
Sent: Sunday, March 05, 2006 7:11 AM
To: h-costume@indra.com
Subject: [h-cost] abuse of fabrics (aka care and washing) question

Can someone point me in the right direction for info/resources on best
washing methods fof various natural fabrics, especially linen and wool. I
know that many of my off the rack 'modern' clothes specify dry cleaning, but
if I were to wash my linen and wool yardage first (cool water of course),
would that make the finished garment washable by the same method as well
without too much risk of shrinkage? It would be so much simpler.
   
  Thanks,
  Annette M

		
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing) question
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One tip, especially for linen - take your yardage and zigzag the two raw 
edges together, into a loop, before you wash it.  It's the quickest, 
simplest way to make sure you don't come out with a spaghetti bundle of 
frayed threads.

Jean


Kahlara <kahlara@yahoo.com> wrote
>Can someone point me in the right direction for info/resources on best 
>washing methods fof various natural fabrics, especially linen and wool. 
>I know that many of my off the rack 'modern' clothes specify dry 
>cleaning, but if I were to wash my linen and wool yardage first (cool 
>water of course), would that make the finished garment washable by the 
>same method as well without too much risk of shrinkage? It would be so 
>much simpler.
>
>  Thanks,
>  Annette M
>
>
>---------------------------------
>Yahoo! Mail
>Bring photos to life! New PhotoMail  makes sharing a breeze.
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From h-costume-bounces@indra.com  Sun Mar  5 12:46:42 2006
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From: "Kim Baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] abuse of fabrics (aka care and washing) question
Date: Sun, 5 Mar 2006 11:46:08 -0600
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If you really want to know about properties and care of various fabrics, get
a college textiles textbook. It will have all the technical details. You
could look for a used one on alibris or abebooks. You don't need the most
current, up-to-date book, because you are looking for natural fiber info,
which hasn't changed much. 
Try a college library if you don't want to buy.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kahlara
Sent: Sunday, March 05, 2006 7:11 AM
To: h-costume@indra.com
Subject: [h-cost] abuse of fabrics (aka care and washing) question

Can someone point me in the right direction for info/resources on best
washing methods fof various natural fabrics, especially linen and wool. I
know that many of my off the rack 'modern' clothes specify dry cleaning, but
if I were to wash my linen and wool yardage first (cool water of course),
would that make the finished garment washable by the same method as well
without too much risk of shrinkage? It would be so much simpler.
   
  Thanks,
  Annette M

		
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References: <00c601c6407c$af152a00$6701a8c0@anteckim>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing) question
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> If you really want to know about properties and care of various fabrics, 
> get
> a college textiles textbook. It will have all the technical details. You
> could look for a used one on alibris or abebooks.

I took a Textile class in graduate school. Everything you wanted to know 
about fabric! Great class. The text we used was _Textiles_ (eighth edition) 
by Sara J. Kadolph and Anna L. Langford. I'm sure there are lots of copies 
floating around in bookstores or on the internet. I think there is a new 
edition coming out this year.

One of the things I learned in my studies was that legally, clothing 
manufacturers have to put a care label on their garments, and they have to 
test the garment in what ever method they recommend.   For *most* garments, 
regardless of fiber content, the easiest and cheapest route is to label the 
garment "Dry Clean Only". This way they are not responsible for the poor 
results if the garment is cleaned some other way, and they have to spend 
very little money researching other cleaning methods. Basically---"dry clean 
only" is the default setting on care labels.

I've bought plenty of garments made from washable fabrics that had dry clean 
only in the label.  I rarely dry clean *anything* but hand wash or machine 
wash on gentle instead.

As for the original question-- Yes, if you prewash and pre-shrink material, 
you should be all set, as long as you use the same method to wash the 
finished garment. In other words--don't wash the yardage on gentle in cold 
water, then wash the garment in a regular cycle with warm or hot and expect 
the garment to be unchanged! ;-)

Denise
Iowa


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Subject: RE: [h-cost] abuse of fabrics (aka care and washing) question
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 Denise wrote:

"I took a Textile class in graduate school. Everything you wanted to know
about fabric! Great class. The text we used was _Textiles_ (eighth edition)
by Sara J. Kadolph and Anna L. Langford. I'm sure there are lots of copies
floating around in bookstores or on the internet. I think there is a new
edition coming out this year."

Kadolph's book is now in its 9th edition. That is expensive, but previous
edition can be picked up for only a few dollars, and would be well worth it.

Kim


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Date: Sun, 5 Mar 2006 18:58:37 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] difference of the sexes
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Bjarne,

I don't know much about the period, but is there a difference between 
how close the garments are to the body?  I'm thinking of a man's 
waistcoat and coat compared to a woman's dress, I would imagine a man's 
shirt is a more substantial garment than a woman's shift, and therefore 
offers more protection to the outer layers.  Alternatively, does the 
silk help the waistcoat and coat move over the heavier linen of the 
shirt and the outer layer of the waistcoat, while women are not wearing 
layers that move against each other to the same extent?

Jean


Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote
>Hi.
>When i went to Frankfurt recently, we disgussed this strange thing that 
>all of us has noticed.
>All gentlements garments in 18th century is lined with silk, but all 
>ladies garments lined with linnen?
>Is there any natural explantation of this?
>Also Mauritia told me, when working on the wedding suit of Christian 
>VII, that his suit was lined with linnen, very unusuall. I told her, 
>that perhaps it was because of the insanity of the king ( he was 
>suffering of skitsofrenia), and that perhaps he used to sweat 
>exceptionally much because of this? I have no idea of that, but back to 
>the difference of the sexes, why do you think they did this?
>
>Bjarne
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>_______________________________________________
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-- 
Jean Waddie
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Subject: Re: [h-cost] difference of the sexes
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> Hi.
> When i went to Frankfurt recently, we disgussed this strange thing that
> all
> of us has noticed.
> All gentlements garments in 18th century is lined with silk, but all
> ladies
> garments lined with linnen?
> Is there any natural explantation of this?

Bjarne,

Maybe smells come out of silk easier?  In my experience, men and women
sweat the same but male sweat is...um...stronger smelling.  So maybe linen
holds smells longer than silk?  Or it was easier to clean?

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
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From h-costume-bounces@indra.com  Sun Mar  5 14:22:22 2006
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <00c601c6407c$af152a00$6701a8c0@anteckim>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing) question
Date: Sun, 5 Mar 2006 14:23:34 -0500
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Ah, but many of the products for washing and cleaning have changed!  This
will have some small effect on the textiles being treated...from my own
experience.

Kathleen
----- Original Message ----- 
From: "Kim Baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Sunday, March 05, 2006 12:46 PM
Subject: RE: [h-cost] abuse of fabrics (aka care and washing) question


> If you really want to know about properties and care of various fabrics,
get
> a college textiles textbook. It will have all the technical details. You
> could look for a used one on alibris or abebooks. You don't need the most
> current, up-to-date book, because you are looking for natural fiber info,
> which hasn't changed much.
> Try a college library if you don't want to buy.
>
> Kim
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Kahlara
> Sent: Sunday, March 05, 2006 7:11 AM
> To: h-costume@indra.com
> Subject: [h-cost] abuse of fabrics (aka care and washing) question
>
> Can someone point me in the right direction for info/resources on best
> washing methods fof various natural fabrics, especially linen and wool. I
> know that many of my off the rack 'modern' clothes specify dry cleaning,
but
> if I were to wash my linen and wool yardage first (cool water of course),
> would that make the finished garment washable by the same method as well
> without too much risk of shrinkage? It would be so much simpler.
>
>   Thanks,
>   Annette M
>
>
> ---------------------------------
> Yahoo! Mail
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In a message dated 3/4/2006 1:02:31 PM Central Standard Time, 
drewscph@post12.tele.dk writes:
http://www.my-drewscostumes.dk/soiredhiver.htm
Absolutely wonderful, hope you had as good a time as it looked like..  Not my 
time frame so not very knowledgable about the costumes but they seemed very 
grand and well done to me.  I have been watching the list to see how the trip 
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Is this Baroque or Roccoco time frame? I would like to make a Mother Ginger 
costume with the same shape as the yellow and pink gown. Does anyone know 
the year span for this gown? I'll need to buy a pattern if at all possible.
----- Original Message ----- 
From: <Theresathreadgi@aol.com>
To: <h-costume@indra.com>
Sent: Sunday, March 05, 2006 3:25 PM
Subject: Re: [h-cost] soiré d´hiver


> In a message dated 3/4/2006 1:02:31 PM Central Standard Time,
> drewscph@post12.tele.dk writes:
> http://www.my-drewscostumes.dk/soiredhiver.htm
> Absolutely wonderful, hope you had as good a time as it looked like..  Not 
> my
> time frame so not very knowledgable about the costumes but they seemed 
> very
> grand and well done to me.  I have been watching the list to see how the 
> trip
> went and it sounds like you haad a fantastic time.  take care theresa
> _______________________________________________
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In a message dated 3/5/2006 11:25:30 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

All  gentlements garments in 18th century is lined with silk, but all ladies  
garments lined with linnen?
Is there any natural explantation of  this?



I don't think that is necessarily true.  I'm sure there are men's  coats and 
waistcoats lined with linen.  
 
However, my two cents' worth--a man's shirt covered him more completely  than 
a woman's shift, I think, so he had a fuller under layer of linen next to  
his skin.
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] difference of the sexes
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Jean Waddie wrote:

> 
>  Alternatively, does the 
> silk help the waistcoat and coat move over the heavier linen of the 
> shirt and the outer layer of the waistcoat, while women are not wearing 
> layers that move against each other to the same extent?
> 

You may have something there... it also occurs to me that men wore their 
clothing open, and the lining showed. Women's gowns and jackets are worn 
closed, so maybe the lining doesn't need to be as fancy.



Dawn

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Subject: Re: [h-cost] difference of the sexes
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In a message dated 3/5/2006 4:58:36 PM Eastern Standard Time, 
dawn@reddawn.net writes:

> You may have something there... it also occurs to me that men wore their 
> clothing open, and the lining showed. Women's gowns and jackets are worn 
> closed, so maybe the lining doesn't need to be as fancy.
> 
> **************************

Beat me to it!

You see the lining of a man's coat....especially if he takes it off for some 
reason....then you see the waistcoat back! But I think a lot of waistcoat 
backs are linen and even sleeve linings in coats are linen too with the body in 
silk. This supports the "If you might see it.....line it in silk" theory. 

Also supportive of this line of thinking: What are doublets lined in? A lot 
in linen. Are there more jerkins [sometimes worn open and you might see the 
lining] lined in silk?
I dunno. Good question.

Ask yourself also, What are women's cloaks lined in? Is there more silk 
there? Again I dunno.

Anyway....I think this is the answer. It might be seen.
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To: "Historical Costume" <h-costume@indra.com>
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Subject: =?iso-8859-1?Q?Re:_=5Bh-cost=5D_soir=E9_d=B4hiver?=
Date: Sun, 5 Mar 2006 23:50:37 +0100
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Hi Becky,
Well it is not baroque, and not quite rococo neither, its the time from 
1770-80, also called Louix XVI, or neo classical style.
For a pattern, well its a little difficult. If you meen a ready made 
pattern, ready to cut, i dont know, but if you know a little about pattern 
making, you could use Jean Hunnisets book Costumes for Screen and Stage. The 
2nd vollume.
In this you will find both a corset, pannier (hoop frame) and a robe a la 
francaise like the pink dress.

Bjarne

----- Original Message ----- 
From: "Becky" <zeartiste@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 05, 2006 9:40 PM
Subject: Re: [h-cost] soiré d´hiver


> Is this Baroque or Roccoco time frame? I would like to make a Mother 
> Ginger costume with the same shape as the yellow and pink gown. Does 
> anyone know the year span for this gown? I'll need to buy a pattern if at 
> all possible.
> ----- Original Message ----- 
> From: <Theresathreadgi@aol.com>
> To: <h-costume@indra.com>
> Sent: Sunday, March 05, 2006 3:25 PM
> Subject: Re: [h-cost] soiré d´hiver
>
>
>> In a message dated 3/4/2006 1:02:31 PM Central Standard Time,
>> drewscph@post12.tele.dk writes:
>> http://www.my-drewscostumes.dk/soiredhiver.htm
>> Absolutely wonderful, hope you had as good a time as it looked like.. 
>> Not my
>> time frame so not very knowledgable about the costumes but they seemed 
>> very
>> grand and well done to me.  I have been watching the list to see how the 
>> trip
>> went and it sounds like you haad a fantastic time.  take care theresa
>> _______________________________________________
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> _______________________________________________
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> 


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Forgot to add, that when i get more time, ill make the pictures clickable 
for bigger ones.
And did you notice the petrol blue suit? Mauritia found a provider of real 
silk velvet in the quality for 18th century. 100 % silk. It was gorgeous to 
look at.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: RE: [h-cost] abuse of fabrics (aka care and washing) question
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no problem at all with washing pure linen - reacts a lot like an untreated 
cotton - as long as you pre shrink it (washing machine, hottest setting) it'll 
be pretty much fine in normal washes.

obviously depends on the looseness of the weave, etc, (if a very loose weave, 
it may need shrinking twice), and may change some of the fabric properties, 
but I don't usually have a problem.

washing is fine for a wool that's not heavily felted, or a superfine (one 
that doesn't have a very smooth, shiny, or napped surface).  I'd do the same for 
wool as for linen - hot setting (not necessarily the hottest this time, due to 
the (often) greater shrinkage).

the reason you can't wash (or steam / steam press for that matter), felted 
wools and superfines is that heat and moisture are used during the finishing 
processes.  I've actually used steam to 'un-face' scraps of cloth from 
hainsworths for making medieval livery badges (or so that I can rip out the thread to do 
embroidery that has to match the garment cloth exactly).  the resulting 
fabric looks and feels completely different.  behaves differently too.

anyway the end result being either that the wonderful finish that was the 
reason for buying the cloth in the first place is gone, or (depending on the 
precise type of cloth), the life of the fabric can be reduced by as much as 25 - 
40 % (ish).  sometimes you get both results.  

same applies to tumble drying, obviously, as you're introducing heat to cloth 
that's already moist!

and of course, in the case of overcoatings etc, the water resistant 
properties will usually be either reduced, or just completely eliminated.

debs

(ps it really irritates me when customers wash heavily felted wools 
(hainsworths again) when I've told them not to, and they then wonder why it shrinks and 
loses its lustre - duh!)

but as I said ordinary wool should be fine as long as you don't later wash it 
a hotter setting that the original wash.
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Subject: =?iso-8859-1?Q?Re:_=5Bh-cost=5D_soir=E9_d=B4hiver?=
Date: Sun, 5 Mar 2006 18:35:09 -0500
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I've read all that I can find on the gown. I have that book ordered so it's 
on its way. I should have checked your site more. The costumes/garb are 
wonderful. The photos look as if someone opened a door to the past. Totally 
a cottage weekend for a group of friends.
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 05, 2006 5:50 PM
Subject: Re: [h-cost] soiré d´hiver


> Hi Becky,
> Well it is not baroque, and not quite rococo neither, its the time from 
> 1770-80, also called Louix XVI, or neo classical style.
> For a pattern, well its a little difficult. If you meen a ready made 
> pattern, ready to cut, i dont know, but if you know a little about pattern 
> making, you could use Jean Hunnisets book Costumes for Screen and Stage. 
> The 2nd vollume.
> In this you will find both a corset, pannier (hoop frame) and a robe a la 
> francaise like the pink dress.
>
> Bjarne
>
> ----- Original Message ----- 
> From: "Becky" <zeartiste@hotmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, March 05, 2006 9:40 PM
> Subject: Re: [h-cost] soiré d´hiver
>
>
>> Is this Baroque or Roccoco time frame? I would like to make a Mother 
>> Ginger costume with the same shape as the yellow and pink gown. Does 
>> anyone know the year span for this gown? I'll need to buy a pattern if at 
>> all possible.
>> ----- Original Message ----- 
>> From: <Theresathreadgi@aol.com>
>> To: <h-costume@indra.com>
>> Sent: Sunday, March 05, 2006 3:25 PM
>> Subject: Re: [h-cost] soiré d´hiver
>>
>>
>>> In a message dated 3/4/2006 1:02:31 PM Central Standard Time,
>>> drewscph@post12.tele.dk writes:
>>> http://www.my-drewscostumes.dk/soiredhiver.htm
>>> Absolutely wonderful, hope you had as good a time as it looked like.. 
>>> Not my
>>> time frame so not very knowledgable about the costumes but they seemed 
>>> very
>>> grand and well done to me.  I have been watching the list to see how the 
>>> trip
>>> went and it sounds like you haad a fantastic time.  take care theresa
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>
>> _______________________________________________
>> h-costume mailing list
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>>
>
>
> _______________________________________________
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Subject: [h-cost] Re: Piecework
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Kathleen wrote:

> Hey there, Folk,
> Have you seen the latest Piecework, yet? "Garden Embroidery" with snippets of
> a stomacher and an Eliza. purse, plus a lovely coverlet all in florals.  There
> is also a presentation of Stumpwork with instructions and a project.  Knit
> cuffs that might be useful for the reinactor,and a wonderful 'penny rug' for
> contemplation by the 19th C, folk.  There is also an article on collecting and
> caring for household textiles (including a handful of 'naughty pincushions'
> that I have not seen before).  And finally, a calendar of textile events and
> shows from around the country.


Naughty pincushions????

Gail Finke


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From h-costume-bounces@indra.com  Sun Mar  5 19:36:12 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] difference of the sexes
Date: Mon, 6 Mar 2006 01:36:06 +0100
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But the woman would have both a shift and the stays to protect, most of the 
bodice has the stays behind. Only the shoulder pieces perhaps is not 
protected.
Could it simply be, that men was feeling a bigger rank, than a woman, and 
therefore was using silk in stead of linen.
I know there are mens garments lined with linnen, but most aristocracy 
fashion is lined with silk.

Bjarne
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Sunday, March 05, 2006 9:52 PM
Subject: Re: [h-cost] difference of the sexes


>
> In a message dated 3/5/2006 11:25:30 A.M. Eastern Standard Time,
> drewscph@post12.tele.dk writes:
>
> All  gentlements garments in 18th century is lined with silk, but all 
> ladies
> garments lined with linnen?
> Is there any natural explantation of  this?
>
>
>
> I don't think that is necessarily true.  I'm sure there are men's  coats 
> and
> waistcoats lined with linen.
>
> However, my two cents' worth--a man's shirt covered him more completely 
> than
> a woman's shift, I think, so he had a fuller under layer of linen next to
> his skin.
>
> Ann Wass
> _______________________________________________
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> h-costume@mail.indra.com
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> 


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Subject: Re: [h-cost] difference of the sexes
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> But the woman would have both a shift and the stays to protect, most of
the
> bodice has the stays behind. Only the shoulder pieces perhaps is not
> protected.

Perhaps it's the stays that is the issue? Men don't wear something that
stiff under their garments which would mean the lining doesn't need to
protect the garment from so much spot specific rubbing?

It depends on the quality and thrength of the silk and the linen
respectively of course.

It could also be that men's garments are more likely to be taken on and off
or open than a woman's dress so you are going to want the inside to look
nicer.

No idea, just throwing ideas out there;) But those are factors that I think
of when lining my garments. Support, durability and what might be seen and
buy whom.

michaela de bruce
http://glittersweet.com



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From: "michaela" <thebruce@ihug.co.nz>
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> Here i send you a link for some pictures of the event.
> http://www.my-drewscostumes.dk/soiredhiver.htm
> I want to thank the whole family for their warmth and generousity. I got
> many lovely memories from that week end. I am in endless gratitute to them

It all looks so wonderful. How absolutely wonderful to be able to attend an
event like this:)

Thank you for sharing the event with us:)

michaela de bruce
http://glittersweet.com



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From h-costume-bounces@indra.com  Mon Mar  6 01:14:27 2006
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] difference of the sexes
Date: Sun, 5 Mar 2006 22:14:04 -0800
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Maybe it has to do with linen breathing better? Those of us going thru
menopause would  understand and appreciate a cooler outfit.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Diana Habra
Sent: Sunday, March 05, 2006 11:06 AM
To: Historical Costume
Subject: Re: [h-cost] difference of the sexes



> Hi.
> When i went to Frankfurt recently, we disgussed this strange thing 
> that all of us has noticed.
> All gentlements garments in 18th century is lined with silk, but all
> ladies
> garments lined with linnen?
> Is there any natural explantation of this?

Bjarne,

Maybe smells come out of silk easier?  In my experience, men and women sweat
the same but male sweat is...um...stronger smelling.  So maybe linen holds
smells longer than silk?  Or it was easier to clean?

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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From h-costume-bounces@indra.com  Mon Mar  6 01:39:40 2006
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Subject: RE: [h-cost] difference of the sexes
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At 06:14 06/03/2006, you wrote:
>Maybe it has to do with linen breathing better? Those of us going thru
>menopause would  understand and appreciate a cooler outfit.
>Sharon
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
>Behalf Of Diana Habra
>Sent: Sunday, March 05, 2006 11:06 AM
>To: Historical Costume
>Subject: Re: [h-cost] difference of the sexes



  Early in the 18th century there are so many layers of horsehair, 
crin, and linen stiffening the silk lining was probably for comfort, 
but would not much be seen, except maybe inside the front opening at 
the chest.

Later, in the middle of the century the lining can be seen on the 
back skirts, from in front, without the man ever taking off or 
opening his coat. It's just the way it is made.

Many late 18th century coats are actually worn fastened only with a 
couple of hooks on the chest, allowing the fronts to fall open and 
reveal the lining. Facing the fronts with fashion fabric is not 
usually an option until very late in the century, when coats with 
tails become popular. Early the following century the "tails" are 
almost always fully lined in fashion fabric, and the fronts are faced 
back as far as the underarm with fashion fabric. The insides are tend 
to be left unlined except for some linen reinforcement across the shoulders.

As someone else said, the inside of a woman's bodice would not be 
seen, so there would be no need to waste a comparatively expensive 
fabric on something unseen.

Just my 2 penn'orth.

Suzi


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Date: Mon, 06 Mar 2006 09:23:15 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: RE: [h-cost] Alexandrian cap
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Kate Bunting
Librarian and 17th century reenactor

>>> Joannah@sluggy.net 03/03/2006 19:15 >>> wrote:
>The reference you are thinking of comes from chapter 10 of 'Frederica' by Georgette Heyer.
[snip]
>"... and the little Alexandrian cap with which, deaf to Charis's protests, she completed her elegant toilette,
>clearly demonstrated that she was to be ranked amongst the dowagers.'  

>I must say, I never got the impression that an Alexandrian cap was anything like a Phrygian cap.

______________________________________________________________________

No, I can't imagine a Phrygian cap being something that a dowager would wear. Surely the association with the French Revolution would make it something that only a daring, trendy person would have?


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>--- K.M.Bunting@derby.ac.uk wrote:
>
>>>> Joannah@sluggy.net 03/03/2006 19:15 >>> wrote:
>>The reference you are thinking of comes from chapter 10 of 'Frederica' by Georgette Heyer.
>[snip]
>>"... and the little Alexandrian cap with which, deaf to Charis's protests, she completed her elegant toilette,
>>clearly demonstrated that she was to be ranked amongst the dowagers.'  
>
>>I must say, I never got the impression that an Alexandrian cap was anything like a Phrygian cap.
>
>_____________________________________________________________________
>
>No, I can't imagine a Phrygian cap being something that a dowager would wear. Surely >the association with the French Revolution would make it something that only a >daring, trendy person would have?

I also can't picture that Frederica would have worn something with that sort of connotation, to such a potentially important social event, especially when it was of the utmost importance to provide her family with the appearance, at least, of an impeccable family background.

Joannah.

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~





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From: "Joannah Hansen" <Joannah@SLUGGY.NET>
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Please do, it was the only thing wrong with the pictures, that we couldn't enlarge them to see details better.

It looks like it was a lovely weekend, I'm glad you had a great time.

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- drewscph@post12.tele.dk wrote:

Forgot to add, that when i get more time, ill make the pictures clickable 
for bigger ones.
And did you notice the petrol blue suit? Mauritia found a provider of real 
silk velvet in the quality for 18th century. 100 % silk. It was gorgeous to 
look at.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Date: Mon, 6 Mar 2006 06:10:12 -0600
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)
Message-ID: <20060306.061012.1840.0.LLWatts@juno.com>
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> One of the things I learned in my studies was that legally, clothing  
> manufacturers have to put a care label on their garments, and they 
> have to 
> test the garment in what ever method they recommend.

Not that all manufacturer's actually _test_ the garments ... I think
Tommy Hilfiger still holds the record for biggest fine from the FTC for
inaccurate care labels.  There's a fashion boutique that opened recently
in Omaha that is already notorious among the local dry cleaners; the
company I work for has told everyone to refuse garments from them because
they cannot be dry cleaned regardless of the care tag.

>For *most*  garments, 
> regardless of fiber content, the easiest and cheapest route is to 
> label the 
> garment "Dry Clean Only". This way they are not responsible for the 
> poor 
> results if the garment is cleaned some other way, and they have to 
> spend 
> very little money researching other cleaning methods. 

I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
was a synonym for "We Couldn't Be Bothered To Test This But Don't Want To
Be Held Responsible".

Leah
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From h-costume-bounces@indra.com  Mon Mar  6 08:31:35 2006
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] abuse of fabrics (aka care and washing)
Date: Mon, 6 Mar 2006 08:32:57 -0500
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That has certainly been my take on it for years! The so called care label
puts the blame on the owner or outside establishment if the garment fails to
survive the cleaning.

Besides the "Talon (zipper) ads, remember the Union Label (buy American!)
ads when all the new fibers began to come out in the 1950s? Some of the
American labels such as Jonathan Logan took great pride that you could
depend on their products not to shrink or misshape in the wearing (and
caring)

Kathleen
----- Original Message ----- 
From: "Leah L Watts" <llwatts@juno.com>
To: <h-costume@indra.com>
Sent: Monday, March 06, 2006 7:10 AM
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)


> > One of the things I learned in my studies was that legally, clothing
> > manufacturers have to put a care label on their garments, and they
> > have to
> > test the garment in what ever method they recommend.
>
> Not that all manufacturer's actually _test_ the garments ... I think
> Tommy Hilfiger still holds the record for biggest fine from the FTC for
> inaccurate care labels.  There's a fashion boutique that opened recently
> in Omaha that is already notorious among the local dry cleaners; the
> company I work for has told everyone to refuse garments from them because
> they cannot be dry cleaned regardless of the care tag.
>
> >For *most*  garments,
> > regardless of fiber content, the easiest and cheapest route is to
> > label the
> > garment "Dry Clean Only". This way they are not responsible for the
> > poor
> > results if the garment is cleaned some other way, and they have to
> > spend
> > very little money researching other cleaning methods.
>
> I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
> was a synonym for "We Couldn't Be Bothered To Test This But Don't Want To
> Be Held Responsible".
>
> Leah
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] The Change & Hand Fans
Date: Mon, 6 Mar 2006 09:36:29 -0400
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Both of the Mums in our household are going through the change, we have hand 
fans stashed everywhere in our re enacting kit! Most of them are the 
sandlewood variety.

Kelly



Okay ladies... how many of you have had hot flashes and found that your hand 
fans are your new best friend?

 Maybe a new trend for us going through the change!

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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Subject: Re: [h-cost] Fit of a victorian bodice
Date: Mon, 6 Mar 2006 09:45:18 -0400
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I was thinking shoulder strap too...It sound like you may have to unpick the 
strap seam, and take up the front shoulder at an angle from it's original, 
not touching the original back shoulder seam.  You may also want to 
interline the bodice with your interlining cut so the shoulder strap is on 
the straight of grain.

Kelly



> On 3/3/06, Cin <cinbarnes@gmail.com> wrote:
>> >Hi, I'm making an 1865-70 bodice (first bustle era) starting from the
>> Truly Victorian ball bodice pattern, and I'm having trouble with the
>> fit around the armholes -- there's a horizontal stress line about
>> 1/2" above the bottom of the armhole (right at the top of my corset)
>> it extends about 3" into the bust,

> Yet another possible cause, the shoulder strap wants to lie slightly
> outside or inside of where it was designed to go. You may have to
> release the side & CB seams, then pivot or slide the section until the
> straps lie right.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
>
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Piecework
Date: Mon, 6 Mar 2006 08:52:02 -0500
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This group of a single gartered, lace covered leg, provocatively extended
from various froths of silk skirts and petticoat.  There are 5!  each one
more delicious than the other...
A very cute idea.

kathleen

----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Sunday, March 05, 2006 7:01 PM
Subject: [h-cost] Re: Piecework


> Kathleen wrote:
>
> > Hey there, Folk,
> > Have you seen the latest Piecework, yet? "Garden Embroidery" with
snippets of
> > a stomacher and an Eliza. purse, plus a lovely coverlet all in florals.
There
> > is also a presentation of Stumpwork with instructions and a project.
Knit
> > cuffs that might be useful for the reinactor,and a wonderful 'penny rug'
for
> > contemplation by the 19th C, folk.  There is also an article on
collecting and
> > caring for household textiles (including a handful of 'naughty
pincushions'
> > that I have not seen before).  And finally, a calendar of textile events
and
> > shows from around the country.
>
>
> Naughty pincushions????
>
> Gail Finke
>
>
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The setting is just aweson. It looks like so much fun....if you get 
time, could you link the pictures to their larger form?  There are some 
details that would be fun to look at.  Speaking of which what is on the 
man's pony-tail in the picture: last column, second row.  Is it wrapped 
in ribbon?  Is this something they would have done?

Thanks, for sharing.
Sg

Bjarne og Leif Drews wrote:

> I was so fortunate, to get an invitation for a lovely winter gathering 
> at Reine des Centfeuilles and her family.
> The gathering was from friday evening, til sunday noon.
> It was lovely to meet some of the Lumieres german members.
> The generousity of Maurita her family is endless, and i was guest in 
> their house all 3 days. Highlight of it all was my first sleap in a 
> real alcove. Mauritia and Kim had made everything so lovely, and their 
> cooking was deliscious.
> Here i send you a link for some pictures of the event.
> http://www.my-drewscostumes.dk/soiredhiver.htm
> I want to thank the whole family for their warmth and generousity. I 
> got many lovely memories from that week end. I am in endless gratitute 
> to them all.
>
> Christian Ludvig de Vollanges..........
>
>
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
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>

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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] abuse of fabrics (aka care and washing)
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Hi--
I was a designer / patternmaker and technical designer in the garment
industry for 24 years. Do not blame the manufacturer (the people who
actually sew the garment) for the wording of care labels. Very often the
people who make the garment follow what is demanded by the Customer (the
people who order the garment from the manufacturer: Disney,. Walmart, Sears
etc.) The customer gives the manufacturer a manual that gives phrases and
the care label must be taken from that. The Federal Government also prevents
the manufacturer from doing "preventative care labling": unless you know
that a certain fabric will react by doing something (eg: pouring chlorine
bleach on a swimwear fabric) you cannot say "do not bleach". The problem
with this is that sometimes the customer insists on going the extra step in
stupidity-- over the advice of the manufacturer. I once had an on-going
agrument with Nordstroms about using non-chlorine bleach on a chiild's
swimsuit. I lost. They insisted that the label say "non-chlorine bleach as
needed". The fabric was done no favors with that!

Don't blame the manufacturer, blame the people who place the order with the
manufacturer. We have our own share of frustrations. (Don't get me started
on off-shore manufacturing...)

Yours-
Monica Spence


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lloyd Mitchell
Sent: Monday, March 06, 2006 8:33 AM
To: Historical Costume
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)


That has certainly been my take on it for years! The so called care label
puts the blame on the owner or outside establishment if the garment fails to
survive the cleaning.

Besides the "Talon (zipper) ads, remember the Union Label (buy American!)
ads when all the new fibers began to come out in the 1950s? Some of the
American labels such as Jonathan Logan took great pride that you could
depend on their products not to shrink or misshape in the wearing (and
caring)

Kathleen
----- Original Message -----
From: "Leah L Watts" <llwatts@juno.com>
To: <h-costume@indra.com>
Sent: Monday, March 06, 2006 7:10 AM
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)


> > One of the things I learned in my studies was that legally, clothing
> > manufacturers have to put a care label on their garments, and they
> > have to
> > test the garment in what ever method they recommend.
>
> Not that all manufacturer's actually _test_ the garments ... I think
> Tommy Hilfiger still holds the record for biggest fine from the FTC for
> inaccurate care labels.  There's a fashion boutique that opened recently
> in Omaha that is already notorious among the local dry cleaners; the
> company I work for has told everyone to refuse garments from them because
> they cannot be dry cleaned regardless of the care tag.
>
> >For *most*  garments,
> > regardless of fiber content, the easiest and cheapest route is to
> > label the
> > garment "Dry Clean Only". This way they are not responsible for the
> > poor
> > results if the garment is cleaned some other way, and they have to
> > spend
> > very little money researching other cleaning methods.
>
> I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
> was a synonym for "We Couldn't Be Bothered To Test This But Don't Want To
> Be Held Responsible".
>
> Leah
> _______________________________________________
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For whatever reason, it doesn't cause any discomfort.  It is a very 
comfortable bra....it does cause an odd shape for the modern taste though!

Land of Oz wrote:

> I would think the "ugly seam that runs right across the nipple" is 
> going to cause you some serious discomfort if you ride for very long 
> at any faster than a walk!
>
> Denise


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Bjarne:

Wow! 100% silk! It looks so good in the pictures, it must have been amazing
in real life. What a wonderful time you must have had.

If I ever recreated that time period, I would have to be a servant! I would
want everything to be perfect, not just "like" the real thing. But I think I
could deal with that!

Gail Finke


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>>> wickedfrau@msn.com 06/03/2006 14:11 >>>
>The setting is just aweson. It looks like so much fun....if you get 
>time, could you link the pictures to their larger form?  There are some 
>details that would be fun to look at.  Speaking of which what is on the 
>man's pony-tail in the picture: last column, second row.  Is it wrapped 
>in ribbon?  Is this something they would have done?

He looks like a military man, and I think they did wrap their queue in ribbon, presumably to keep it tidy when in action.

Kate Bunting (also looking forward to seeing Bjarne's pictures in larger format)


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: =?iso-8859-1?Q?Re:_=5Bh-cost=5D_soir=E9_d=B4hiver?=
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Hi Saragrace,
I am working on it right now, and more pictures two. I didnt have many of 
myself, because it was me who took the photos, but today i received many 
nice pictures with me also. Post them in a coupple of hours.
The gentleman is having his tail wrapped round with a silk ribbon. It was 
used many times by military people, it was easyer to handle, and more 
hygienic two.

Bjarne
----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 06, 2006 3:11 PM
Subject: Re: [h-cost] soiré d´hiver


> The setting is just aweson. It looks like so much fun....if you get time, 
> could you link the pictures to their larger form?  There are some details 
> that would be fun to look at.  Speaking of which what is on the man's 
> pony-tail in the picture: last column, second row.  Is it wrapped in 
> ribbon?  Is this something they would have done?
>
> Thanks, for sharing.
> Sg
>
> Bjarne og Leif Drews wrote:
>
>> I was so fortunate, to get an invitation for a lovely winter gathering at 
>> Reine des Centfeuilles and her family.
>> The gathering was from friday evening, til sunday noon.
>> It was lovely to meet some of the Lumieres german members.
>> The generousity of Maurita her family is endless, and i was guest in 
>> their house all 3 days. Highlight of it all was my first sleap in a real 
>> alcove. Mauritia and Kim had made everything so lovely, and their cooking 
>> was deliscious.
>> Here i send you a link for some pictures of the event.
>> http://www.my-drewscostumes.dk/soiredhiver.htm
>> I want to thank the whole family for their warmth and generousity. I got 
>> many lovely memories from that week end. I am in endless gratitute to 
>> them all.
>>
>> Christian Ludvig de Vollanges..........
>>
>>
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>
> _______________________________________________
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> h-costume@mail.indra.com
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> 


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Status: RO

Thanks for sharing your beautiful weekend.  History comes to life when 
people dress for the occasion.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 6, 2006, at 9:11 AM, WickedFrau wrote:

> The setting is just aweson. It looks like so much fun....if you get 
> time, could you link the pictures to their larger form?  There are 
> some details that would be fun to look at.  Speaking of which what is 
> on the man's pony-tail in the picture: last column, second row.  Is it 
> wrapped in ribbon?  Is this something they would have done?
>
> Thanks, for sharing.
> Sg
>
> Bjarne og Leif Drews wrote:
>
>> I was so fortunate, to get an invitation for a lovely winter 
>> gathering at Reine des Centfeuilles and her family.
>> The gathering was from friday evening, til sunday noon.
>> It was lovely to meet some of the Lumieres german members.
>> The generousity of Maurita her family is endless, and i was guest in 
>> their house all 3 days. Highlight of it all was my first sleap in a 
>> real alcove. Mauritia and Kim had made everything so lovely, and 
>> their cooking was deliscious.
>> Here i send you a link for some pictures of the event.
>> http://www.my-drewscostumes.dk/soiredhiver.htm
>> I want to thank the whole family for their warmth and generousity. I 
>> got many lovely memories from that week end. I am in endless 
>> gratitute to them all.
>>
>> Christian Ludvig de Vollanges..........
>>
>>
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
_______________________________________________
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Subject: [h-cost] Equestrian costumers and other hobbies - sort of OT
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Over the years I have found that most of my creative associations seem to have at least two or three similarities in other areas as well as the shared interest in which we first became aquainted.
   
  I have noticed several list members make reference to horses and riding. I ride and own horses also. I also have made various articles of riding clothing and costumes for shows over the years (to keep it close to list topic).
   
  Although each individual is different, there seems to be a range of interests that most creative people share to one degree or another. For my part...
   
  horses, cats (or pets in general), costuming, reading, theatre, good movies, classical and traditional music, gardening, other artistically creative endeavors such as panting or some type of crafting, etc. And of course, the list always exceeds the amount of time available to pursue said interests.
   
  Just a little generalizing. ;-)
   
  Annette M

		
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Thank you for all the great responses! Now I know I can create some nice things that are going to be easy and a lot less expensive to care for. Might try washing that natural colored linen blouse too.
   
  The other direction this took reminds me of how I ruined a "dry clean only" jacket that was one of my favorites by following label directions. The fabric was fine - it was the lining material that shouldn't have been dry cleaned. It 'melted' and adhered to the fabric as it shrunk, creating a puckered and wrinkled affect that ruined the jacket.
   
  And aren't dry cleaners supposed to read labels. I know people aren't infallible, but the label on a skirt said clearly - dry clean only DO NOT PRESS - it came back fine many times, but the last time it got pressed, and a lovely skirt got turned into a limp and unattractive rag. It was just one incident however, and they are the best cleaners around.
   
  Annette M

  Message: 7
Date: Mon, 6 Mar 2006 06:10:12 -0600
From: Leah L Watts 
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)


> One of the things I learned in my studies was that legally, clothing 
> manufacturers have to put a care label on their garments, and they 
> have to 
> test the garment in what ever method they recommend.

Not that all manufacturer's actually _test_ the garments ... I think
Tommy Hilfiger still holds the record for biggest fine from the FTC for
inaccurate care labels. There's a fashion boutique that opened recently
in Omaha that is already notorious among the local dry cleaners; the
company I work for has told everyone to refuse garments from them because
they cannot be dry cleaned regardless of the care tag.

>For *most* garments, 
> regardless of fiber content, the easiest and cheapest route is to 
> label the 
> garment "Dry Clean Only". This way they are not responsible for the 
> poor 
> results if the garment is cleaned some other way, and they have to 
> spend 
> very little money researching other cleaning methods. 

I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
was a synonym for "We Couldn't Be Bothered To Test This But Don't Want To
Be Held Responsible".

Leah


------------------------------

Message: 8
Date: Mon, 6 Mar 2006 08:32:57 -0500
From: "Lloyd Mitchell" 
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)
To: "Historical Costume" 
Message-ID: <000f01c64122$7c926420$935083d1@rmitchellras>
Content-Type: text/plain; charset="iso-8859-1"

That has certainly been my take on it for years! The so called care label
puts the blame on the owner or outside establishment if the garment fails to
survive the cleaning.

Besides the "Talon (zipper) ads, remember the Union Label (buy American!)
ads when all the new fibers began to come out in the 1950s? Some of the
American labels such as Jonathan Logan took great pride that you could
depend on their products not to shrink or misshape in the wearing (and
caring)

Kathleen
----- Original Message ----- 
From: "Leah L Watts" 
To: 
Sent: Monday, March 06, 2006 7:10 AM
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)


> > One of the things I learned in my studies was that legally, clothing
> > manufacturers have to put a care label on their garments, and they
> > have to
> > test the garment in what ever method they recommend.
>
> Not that all manufacturer's actually _test_ the garments ... I think
> Tommy Hilfiger still holds the record for biggest fine from the FTC for
> inaccurate care labels. There's a fashion boutique that opened recently
> in Omaha that is already notorious among the local dry cleaners; the
> company I work for has told everyone to refuse garments from them because
> they cannot be dry cleaned regardless of the care tag.
>
> >For *most* garments,
> > regardless of fiber content, the easiest and cheapest route is to
> > label the
> > garment "Dry Clean Only". This way they are not responsible for the
> > poor
> > results if the garment is cleaned some other way, and they have to
> > spend
> > very little money researching other cleaning methods.
>
> I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
> was a synonym for "We Couldn't Be Bothered To Test This But Don't Want To
> Be Held Responsible".
>
> Leah
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>



------------------------------

Message: 13
Date: Mon, 06 Mar 2006 09:11:04 -0500
From: monica spence 
Subject: RE: [h-cost] abuse of fabrics (aka care and washing)
To: Historical Costume 
Message-ID: 
Content-Type: text/plain; charset=iso-8859-1


Hi--
I was a designer / patternmaker and technical designer in the garment
industry for 24 years. Do not blame the manufacturer (the people who
actually sew the garment) for the wording of care labels. Very often the
people who make the garment follow what is demanded by the Customer (the
people who order the garment from the manufacturer: Disney,. Walmart, Sears
etc.) The customer gives the manufacturer a manual that gives phrases and
the care label must be taken from that. The Federal Government also prevents
the manufacturer from doing "preventative care labling": unless you know
that a certain fabric will react by doing something (eg: pouring chlorine
bleach on a swimwear fabric) you cannot say "do not bleach". The problem
with this is that sometimes the customer insists on going the extra step in
stupidity-- over the advice of the manufacturer. I once had an on-going
agrument with Nordstroms about using non-chlorine bleach on a chiild's
swimsuit. I lost. They insisted that the label say "non-chlorine bleach as
needed". The fabric was done no favors with that!

Don't blame the manufacturer, blame the people who place the order with the
manufacturer. We have our own share of frustrations. (Don't get me started
on off-shore manufacturing...)

Yours-
Monica Spence


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lloyd Mitchell
Sent: Monday, March 06, 2006 8:33 AM
To: Historical Costume
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)


That has certainly been my take on it for years! The so called care label
puts the blame on the owner or outside establishment if the garment fails to
survive the cleaning.

Besides the "Talon (zipper) ads, remember the Union Label (buy American!)

=== message truncated ===

		
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In a message dated 3/6/2006 11:57:00 A.M. Eastern Standard Time,  
kahlara@yahoo.com writes:

The  other direction this took reminds me of how I ruined a "dry clean only" 
jacket  that was one of my favorites by following label directions. The fabric 
was  fine - it was the lining material that shouldn't have been dry cleaned. 
It  'melted' and adhered to the fabric as it shrunk, creating a puckered and  
wrinkled affect that ruined the jacket.

And aren't  dry cleaners supposed to read labels. I know people aren't 
infallible, but the  label on a skirt said clearly - dry clean only DO NOT PRESS - 
it came back  fine many times, but the last time it got pressed, and a lovely 
skirt got  turned into a limp and unattractive rag. It was just one incident 
however, and  they are the best cleaners around.




If you are in the US, and your cleaner is a member of the Fabricare  
Institute, you can have them mediate if they indeed failed to follow the label  
directions.  If the manufacturer mis-labeled the garment, your beef is with  them.
 
Ann Wass
 
Ann Wass
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To: "Historical Costume" <h-costume@indra.com>
References: <NJEJJAKCDDIJCJLBNKFIGEBJCOAA.monicaspence@optonline.net>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)
Date: Mon, 6 Mar 2006 13:26:52 -0500
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This is what I understood back in the '50s.  The ads about
'non-shrinking/misshaping were placed by the WGWU, as you can still find
their label in older garments.  That was their hallmark about buying quality
fabric.  It seems that when Fashion (the customer/business ordering) took
prescidence on the label, that quality began to slip.  Not just  in the
fabric...but when outsourcing to save a union wage buck was becoming the
norm...and the result is in one time wearing garments.
Kathleen
----- Original Message ----- 
From: "monica spence" <monicaspence@optonline.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 06, 2006 9:11 AM
Subject: RE: [h-cost] abuse of fabrics (aka care and washing)


>
> Hi--
> I was a designer / patternmaker and technical designer in the garment
> industry for 24 years. Do not blame the manufacturer (the people who
> actually sew the garment) for the wording of care labels. Very often the
> people who make the garment follow what is demanded by the Customer (the
> people who order the garment from the manufacturer: Disney,. Walmart,
Sears
> etc.) The customer gives the manufacturer a manual that gives phrases and
> the care label must be taken from that. The Federal Government also
prevents
> the manufacturer from doing "preventative care labling": unless you know
> that a certain fabric will react by doing something (eg: pouring chlorine
> bleach on a swimwear fabric) you cannot say "do not bleach". The problem
> with this is that sometimes the customer insists on going the extra step
in
> stupidity-- over the advice of the manufacturer. I once had an on-going
> agrument with Nordstroms about using non-chlorine bleach on a chiild's
> swimsuit. I lost. They insisted that the label say "non-chlorine bleach as
> needed". The fabric was done no favors with that!
>
> Don't blame the manufacturer, blame the people who place the order with
the
> manufacturer. We have our own share of frustrations. (Don't get me started
> on off-shore manufacturing...)
>
> Yours-
> Monica Spence
>
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lloyd Mitchell
> Sent: Monday, March 06, 2006 8:33 AM
> To: Historical Costume
> Subject: Re: [h-cost] abuse of fabrics (aka care and washing)
>
>
> That has certainly been my take on it for years! The so called care label
> puts the blame on the owner or outside establishment if the garment fails
to
> survive the cleaning.
>
> Besides the "Talon (zipper) ads, remember the Union Label (buy American!)
> ads when all the new fibers began to come out in the 1950s? Some of the
> American labels such as Jonathan Logan took great pride that you could
> depend on their products not to shrink or misshape in the wearing (and
> caring)
>
> Kathleen
> ----- Original Message -----
> From: "Leah L Watts" <llwatts@juno.com>
> To: <h-costume@indra.com>
> Sent: Monday, March 06, 2006 7:10 AM
> Subject: Re: [h-cost] abuse of fabrics (aka care and washing)
>
>
> > > One of the things I learned in my studies was that legally, clothing
> > > manufacturers have to put a care label on their garments, and they
> > > have to
> > > test the garment in what ever method they recommend.
> >
> > Not that all manufacturer's actually _test_ the garments ... I think
> > Tommy Hilfiger still holds the record for biggest fine from the FTC for
> > inaccurate care labels.  There's a fashion boutique that opened recently
> > in Omaha that is already notorious among the local dry cleaners; the
> > company I work for has told everyone to refuse garments from them
because
> > they cannot be dry cleaned regardless of the care tag.
> >
> > >For *most*  garments,
> > > regardless of fiber content, the easiest and cheapest route is to
> > > label the
> > > garment "Dry Clean Only". This way they are not responsible for the
> > > poor
> > > results if the garment is cleaned some other way, and they have to
> > > spend
> > > very little money researching other cleaning methods.
> >
> > I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
> > was a synonym for "We Couldn't Be Bothered To Test This But Don't Want
To
> > Be Held Responsible".
> >
> > Leah
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costumers and other hobbies - sort of OT
Date: Mon, 6 Mar 2006 13:47:26 -0500
To: Historical Costume <h-costume@indra.com>
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Status: RO

Annette and others-

Can we make a subgroup that deals with riding outfits and horse items?  
I'd hate to not get feedback from all the historical costumers on the 
big list, but I don't want to annoy the rest of you  with "horse 
specific" questions.  Is it Ok to post with the type of Subject line as 
in this post to alert the rest of you that it may not be of interest to 
the rest of the group?

I'd certainly like to make my riding outfits as authentic looking as 
possible given the fabrics and the circumstances we are faced with 
today.  (No groom to take our horse after we ride or take complete care 
of our horse while we are getting ready to ride or while we socialize 
after riding.  Ahhh... the good old days!  But... I would have been in 
the peasant class, as I am in real life!)

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 6, 2006, at 11:41 AM, Kahlara wrote:

> Over the years I have found that most of my creative associations seem 
> to have at least two or three similarities in other areas as well as 
> the shared interest in which we first became aquainted.
>
>   I have noticed several list members make reference to horses and 
> riding. I ride and own horses also. I also have made various articles 
> of riding clothing and costumes for shows over the years (to keep it 
> close to list topic).
>
>   Although each individual is different, there seems to be a range of 
> interests that most creative people share to one degree or another. 
> For my part...
>
>   horses, cats (or pets in general), costuming, reading, theatre, good 
> movies, classical and traditional music, gardening, other artistically 
> creative endeavors such as panting or some type of crafting, etc. And 
> of course, the list always exceeds the amount of time available to 
> pursue said interests.
>
>   Just a little generalizing. ;-)
>
>   Annette M
>
>
> ---------------------------------
> Brings words and photos together (easily) with
>  PhotoMail  - it's free and works with Yahoo! Mail.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Leah L Watts wrote:

> 
> I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
> was a synonym for "We Couldn't Be Bothered To Test This But Don't Want To
> Be Held Responsible".

I picked up a gorgeous fully beaded and sequinned evening gown at a 
local thrift shop with just such a tag. It reeked of  "dancing all night 
in a smoky club" but for $4 I took a chance. Laid it in a tub of cold 
water with mild soap and just kind of swished it gently and it came out 
beautifully.

I'm all ready for the palace ball, I just need my glass slippers and the 
invitation from the prince....



Dawn


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Subject: RE: [h-cost] Equestrian costumers and other hobbies - sort of OT
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-----Original Message-----
Annette and others-

Can we make a subgroup that deals with riding outfits and horse items?  


Personally, I am right there with you on the costuming for riders and
horses.  I own a horse farm that does classical riding (Dressage, Combined
Training, Jumpers) but, I do SCA and other historical costuming as well.  I
compete on horseback in the SCA with my full Elizabethan gowns, and have
made Baroque riding attire for other rider's costuming classes.  I have
decided that I HAVE to have a riding gown like the one in the movie
"Brotherhood of the Wolf".  I do not know where I am going to wear it but,
if I have to, I will sponsor a party or event at my own farm in order to
wear it.  I already have a gorgeous saddle---just need a beautiful period
bridle for my big grey warmblood.

Diane

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Hi,
Shameless of me, i uploaded the first clickable pictures with the ones of 
myself. Its so seldom i had any pictures of me wearing the blue suit, and 
also my humble mundane.
http://www.my-drewscostumes.dk/soiredhiver3.htm
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Hi,

I was wondering who all from the list was thinking of going. Or who 
would be lecturing there. Anyone?

I notice that there's still next to no info available on the website, 
just a couple months out now, and I was wondering if I should be 
worried. Or do these things always pull themselves together at the last 
minute? I can already find thorough information on other events much 
later in the summer and I'm getting concerned because I have no idea 
what to expect from CostumeCon. I'm thinking I ought to reserve a hotel 
room pretty soon, if I'm going.



Dawn


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	Mon, 06 Mar 2006 22:42:03 GMT
Date: Mon, 6 Mar 2006 22:42:03 +0000 (GMT)
From: julian wilson <smnco37@yahoo.co.uk>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
To: Historical Costume <h-costume@indra.com>
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Susan Data-Samtak <pasovasz@aol.com> wrote:
  Annette and others-

Can we make a subgroup that deals with riding outfits and horse items? 
I'd hate to not get feedback from all the historical costumers on the 
big list, but I don't want to annoy the rest of you with "horse 
specific" questions. Much snippage ! But... I would have been in 
the peasant class, as I am in real life!)

Susan

snip
On Mar 6, 2006, at 11:41 AM, Kahlara wrote:

> Over the years I have found that most of my creative associations seem 
> to have at least two or three similarities in other areas as well as 
> the shared interest in which we first became aquainted.
>
> I have noticed several list members make reference to horses and 
> riding. I ride and own horses also.Much snippage>
> Just a little generalizing. ;-)  COMMENT
  Annette, Susan, and others - 
  according to Master Rhys Terafan Greydragon, - he estimates that of the entire SCA membership, possibly only 10% can actually ride, - and fewer still own their own horses.
   Presumeably the percentage of "riders" against "pedestrians" is much the same in most other re-enactment groups, large and small - Roman, Dark Ages, medieval, English Civil War, Frederick the Great, Marlborough, 1776, Napoleonic Wars, Crimean War, US Civil War, Zulu & Ashanti Wars, and Anglo-Boer War, &c, &c.
   
  This is a huge percentage difference from the medieval period covered by the SCA when one would suppose that the majority of the population above Freedman-Status could ride, - and of course true also for those of the rest of us interested in any other Period Re-enactment up to and including about 1914 Gregorian.
  There must be so much specialised "Equestrian Lore" of costume, of bardings, of other tacks - of which we are unaware, - it would seem likely to be a subject of considerable interest to those of us who don't "ride" horses in these Modern Middle Ages.  For example.......
  The "riding side-saddle, riding astride"-debate has it's own fascinations - Chaucer's illustrators clearly show the female Pilgrims riding astride - but I have read comments confusing the issue, by moderns, flatly stating that even during the 15th Century, all women rode fully-side-saddle, or sat behind a Male servant.  Did this call for divided skirts? or did women wear hosen under their skirts so as to be able to ride astride yet keep their modesty? At what Time point and in which Kingdoms did it become "immodest" and frowned-upon for women to ride astride?
  I would support such a subgroup, and kibitz in the hope of learning much new information.
  Julian,
  in Old Jersey
  

 

		
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On Mon, 6 Mar 2006, Dawn wrote:

> I was wondering who all from the list was thinking of going. Or who
> would be lecturing there. Anyone?

Alas, not me this year. It's within driving distance, but bad timing.

> I notice that there's still next to no info available on the website,
> just a couple months out now, and I was wondering if I should be
> worried. Or do these things always pull themselves together at the
> last minute? I can already find thorough information on other events
> much later in the summer and I'm getting concerned because I have no
> idea what to expect from CostumeCon. I'm thinking I ought to reserve a
> hotel room pretty soon, if I'm going.

You might want to join the International Costumers Guild's discussion
group at yahoogroups; I bet you can find answers there, or at least the
people there can tell you whether there's a better website somewhere.

http://groups.yahoo.com/group/ICG-D/

--Robin

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	Mon, 06 Mar 2006 18:07:28 EST
Date: Mon, 6 Mar 2006 18:07:28 -0500 (EST)
From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Maternity corsets - trivia
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I know I had seen some around. I tripped on this page:
http://commons.wikimedia.org/wiki/Category:Maternity_corset
Mostly later eras from where I was asking about
originally, but a neat selection of how it was
handled.

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Mon, 6 Mar 2006 18:27:46 -0500
To: Historical Costume <h-costume@indra.com>
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 From what I've been able to find out:  he short version of Astride vs 
Aside:

WOMEN rode any way they could-if they were able to get a horse to ride. 
  They either walked or maybe were able to catch a ride in a wagon.

LADIES, on the other hand, adhered to strict rules of conduct and kept 
their legs together for propriety.  I know there are pictures of 
females riding astride as well as sideways with their back parallel to 
the right side of the horse and their feet at right angles to the 
horse's left side. (Did I make this perfectly unclear?) Like sitting in 
a chair.  Others rode sideways behind a man.  Some even had a board to 
place their feet on.  Often the horse was led by a footman, controlling 
the horse.  It was thought that ladies couldn't control a large beast 
like a horse.

Women also rode "palfreys"-  gaited horses, also called "ambling" 
horses.  Supposedly, the Paso Fino Breed, (my horse is a PF) has the 
palfrey in its background.

I've also heard that "women's legs aren't strong enough to control a 
horse" if riding astride. Ironically, I've heard that women have 
stronger thighs, and have better muscle shape TO control a horse if 
ridden astride.  Go figure!

I ride aside, astride and with no saddle at all.  Bareback is the most 
comfortable for the horse and for me.  My Mac's back is round and 
padded with that smooth gait- can't beat it!  Saddle or not.


Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 6, 2006, at 5:42 PM, julian wilson wrote:

> Susan Data-Samtak <pasovasz@aol.com> wrote:
>   Annette and others-
>
> Can we make a subgroup that deals with riding outfits and horse items?
> I'd hate to not get feedback from all the historical costumers on the
> big list, but I don't want to annoy the rest of you with "horse
> specific" questions. Much snippage ! But... I would have been in
> the peasant class, as I am in real life!)
>
> Susan
>
> snip
> On Mar 6, 2006, at 11:41 AM, Kahlara wrote:
>
>> Over the years I have found that most of my creative associations seem
>> to have at least two or three similarities in other areas as well as
>> the shared interest in which we first became aquainted.
>>
>> I have noticed several list members make reference to horses and
>> riding. I ride and own horses also.Much snippage>
>> Just a little generalizing. ;-)  COMMENT
>   Annette, Susan, and others -
>   according to Master Rhys Terafan Greydragon, - he estimates that of 
> the entire SCA membership, possibly only 10% can actually ride, - and 
> fewer still own their own horses.
>    Presumeably the percentage of "riders" against "pedestrians" is 
> much the same in most other re-enactment groups, large and small - 
> Roman, Dark Ages, medieval, English Civil War, Frederick the Great, 
> Marlborough, 1776, Napoleonic Wars, Crimean War, US Civil War, Zulu & 
> Ashanti Wars, and Anglo-Boer War, &c, &c.
>
>   This is a huge percentage difference from the medieval period 
> covered by the SCA when one would suppose that the majority of the 
> population above Freedman-Status could ride, - and of course true also 
> for those of the rest of us interested in any other Period 
> Re-enactment up to and including about 1914 Gregorian.
>   There must be so much specialised "Equestrian Lore" of costume, of 
> bardings, of other tacks - of which we are unaware, - it would seem 
> likely to be a subject of considerable interest to those of us who 
> don't "ride" horses in these Modern Middle Ages.  For example.......
>   The "riding side-saddle, riding astride"-debate has it's own 
> fascinations - Chaucer's illustrators clearly show the female Pilgrims 
> riding astride - but I have read comments confusing the issue, by 
> moderns, flatly stating that even during the 15th Century, all women 
> rode fully-side-saddle, or sat behind a Male servant.  Did this call 
> for divided skirts? or did women wear hosen under their skirts so as 
> to be able to ride astride yet keep their modesty? At what Time point 
> and in which Kingdoms did it become "immodest" and frowned-upon for 
> women to ride astride?
>   I would support such a subgroup, and kibitz in the hope of learning 
> much new information.
>   Julian,
>   in Old Jersey
>
>
>
>
>
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Subject: RE: [h-cost] Alexandrian cap
Date: Mon, 6 Mar 2006 19:10:19 -0600
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>From the sound of the story, an Alexanderian cap is a dowager's cap. What I have been told of dowager's caps (take this with a cup o' salt) is that they are similar to the Whistler's mother cap but slightly different and fancier (lacey?).




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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Mon, 6 Mar 2006 19:47:04 -0600
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LADIES, on the other hand, adhered to strict rules of conduct and kept
their legs together for propriety.  I know there are pictures of
females riding astride as well as

sideways with their back parallel to
the right side of the horse and their feet at right angles to the
horse's left side.
-------------------------

I've never seen anything depicting this style of riding.  Links ?  I can see 
where a footman would have to lead a person seated like this, as it would be 
a little like driving a car from the backseat. This position would put the 
woman more in the class of cargo, rather than "riding". It would be a form 
of transportation similar to sitting in a wagon, I'm sure.

Which is not the same at all as riding side-saddle.  I can't speak to 
specific time periods but I know I have read descriptions of women wearing 
breeches or jodhpurs under a "false" skirt that looked and functioned like a 
skirt when walking, but had a buttoned panel associated with function under 
saddle.

Also, with the volume of skirts and the layers under the skirts, I can't see 
where modesty would be a problem when riding sidesaddle.  The position is 
similar sitting on a barstool with the right leg hooked on a high rung, and 
the left foot very close to the floor. Mounting the horse in public would 
probably take a *lot* of private practice and a very steady horse, but I'm 
sure it could be accomplished w/o displaying much more than some inner hem. 
When horses were primary modes of transportation, mounting blocks were 
available just about everywhere and that would help a lot!

I would join an equestrian clothing group!
Denise

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Equestrian costuming & other period "tack"
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>From my reading, I've come across the term "pillion", which I always
understood to mean behind the "main" rider, but never knew if it meant
sideways or astride.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan Data-Samtak
Sent: Monday, March 06, 2006 3:28 PM
To: Historical Costume
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


 From what I've been able to find out:  he short version of Astride vs 
Aside:

WOMEN rode any way they could-if they were able to get a horse to ride. 
  They either walked or maybe were able to catch a ride in a wagon.

LADIES, on the other hand, adhered to strict rules of conduct and kept 
their legs together for propriety.  I know there are pictures of 
females riding astride as well as sideways with their back parallel to 
the right side of the horse and their feet at right angles to the 
horse's left side. (Did I make this perfectly unclear?) Like sitting in 
a chair.  Others rode sideways behind a man.  Some even had a board to 
place their feet on.  Often the horse was led by a footman, controlling 
the horse.  It was thought that ladies couldn't control a large beast 
like a horse.

Women also rode "palfreys"-  gaited horses, also called "ambling" 
horses.  Supposedly, the Paso Fino Breed, (my horse is a PF) has the 
palfrey in its background.

I've also heard that "women's legs aren't strong enough to control a 
horse" if riding astride. Ironically, I've heard that women have 
stronger thighs, and have better muscle shape TO control a horse if 
ridden astride.  Go figure!

I ride aside, astride and with no saddle at all.  Bareback is the most 
comfortable for the horse and for me.  My Mac's back is round and 
padded with that smooth gait- can't beat it!  Saddle or not.


Susan

"Slow down. The trail is the thing, not the end of the trail. Travel too
fast and you miss all you are traveling for".  - "Ride the Dark Trail" by
Louis L'Amour

On Mar 6, 2006, at 5:42 PM, julian wilson wrote:

> Susan Data-Samtak <pasovasz@aol.com> wrote:
>   Annette and others-
>
> Can we make a subgroup that deals with riding outfits and horse items? 
> I'd hate to not get feedback from all the historical costumers on the 
> big list, but I don't want to annoy the rest of you with "horse 
> specific" questions. Much snippage ! But... I would have been in the 
> peasant class, as I am in real life!)
>
> Susan
>
> snip
> On Mar 6, 2006, at 11:41 AM, Kahlara wrote:
>
>> Over the years I have found that most of my creative associations 
>> seem to have at least two or three similarities in other areas as 
>> well as the shared interest in which we first became aquainted.
>>
>> I have noticed several list members make reference to horses and 
>> riding. I ride and own horses also.Much snippage> Just a little 
>> generalizing. ;-)  COMMENT
>   Annette, Susan, and others -
>   according to Master Rhys Terafan Greydragon, - he estimates that of
> the entire SCA membership, possibly only 10% can actually ride, - and 
> fewer still own their own horses.
>    Presumeably the percentage of "riders" against "pedestrians" is 
> much the same in most other re-enactment groups, large and small - 
> Roman, Dark Ages, medieval, English Civil War, Frederick the Great, 
> Marlborough, 1776, Napoleonic Wars, Crimean War, US Civil War, Zulu & 
> Ashanti Wars, and Anglo-Boer War, &c, &c.
>
>   This is a huge percentage difference from the medieval period
> covered by the SCA when one would suppose that the majority of the 
> population above Freedman-Status could ride, - and of course true also 
> for those of the rest of us interested in any other Period 
> Re-enactment up to and including about 1914 Gregorian.
>   There must be so much specialised "Equestrian Lore" of costume, of 
> bardings, of other tacks - of which we are unaware, - it would seem 
> likely to be a subject of considerable interest to those of us who 
> don't "ride" horses in these Modern Middle Ages.  For example.......
>   The "riding side-saddle, riding astride"-debate has it's own 
> fascinations - Chaucer's illustrators clearly show the female Pilgrims 
> riding astride - but I have read comments confusing the issue, by 
> moderns, flatly stating that even during the 15th Century, all women 
> rode fully-side-saddle, or sat behind a Male servant.  Did this call 
> for divided skirts? or did women wear hosen under their skirts so as 
> to be able to ride astride yet keep their modesty? At what Time point 
> and in which Kingdoms did it become "immodest" and frowned-upon for 
> women to ride astride?
>   I would support such a subgroup, and kibitz in the hope of learning 
> much new information.
>   Julian,
>   in Old Jersey
>
>
>
>
>
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From h-costume-bounces@indra.com  Mon Mar  6 22:34:27 2006
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Date: Sun, 5 Mar 2006 12:20:39 -0800
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: RE: [h-cost] abuse of fabrics (aka care and washing) question
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At 10:40 AM -0600 3/5/06, Betsy Marshall wrote:
>My information is that dry cleaning helps preserve the fabric treatments
>used by the manufacturer- either fabric or clothing processes; so fabric of
>wool, linen, silk or combinations thereof, _can_ be washed, just be prepared
>for the size/hand/texture to change. (Personally I toss it all in the washer
>on cold and let the chips, er, scraps fall where they may.)

My philosophy is to give the finished garment a cleaning treatment 
that's one step gentler than the washing I gave the fabric before I 
cut it out. I pretty much machine wash all yardage as soon as I get 
it home and the edges zigzagged.

This has worked a lot better for some things than others. I've not 
had any problems with linen or silk, but I've learned to be more 
careful about wool, especially about tumble drying it. I had a wool 
Elizabethan gown (and I can now boast that it was custom-made for me 
by Margo -- yes, THAT Margo, of Margo's patterns <g>) and she washed 
my wool yardage on hot, _three_ times before she cut it out. And I 
washed it on cold and dried it on barely lukewarm, and it DID shrink, 
almost three inches in length after half a dozen washings. :(
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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From h-costume-bounces@indra.com  Mon Mar  6 22:55:44 2006
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From: "Penny Ladnier" <penny@costumegallery.com>
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Date: Mon, 6 Mar 2006 22:55:27 -0500
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Subject: [h-cost] Funny Nail Polish Colors
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I am always looking for funny color names.  OPI has some 2006 nail polish colors names!  Check these out:
Reds:
*** I'm Not Really a Waitress
*** Nice Color, Eh?
*** O'Hare & Nails Look Great!
*** SoHo Nice to Meet You
*** You Rock-apulco Red
*** My Chihuahua Bites! (my favorite)

To view all their color names go to http://www.opi.com/

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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From h-costume-bounces@indra.com  Tue Mar  7 03:02:58 2006
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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
References: <20060306.061012.1840.0.LLWatts@juno.com>
Date: Tue, 7 Mar 2006 21:02:19 +1300
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Subject: [h-cost] Sorry for this,
	testing but also latest projects if you are bored.
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I haven't had my last several emails I posted to the list, and a few before
that were delayed by several days, not just a few hours. I was wondering if
others are having the same issue. Then I can narrow down where the problem
might be. I may just be getting the mail delayed to me, I have no idea when
they are getting to other people.

I noticed I had a warning about messages bouncing a while back on some list
and I think it was this one (which is mad as I have had constant uptime with
this email address and if I'm away will change to digest mode.)

Anyway, if this does go through (9pm Tuesday March 7 NZ time which is +12
hours GMT) I have recently updated my website with costumes I haven't linked
from my main page before.

Latest projects are:
http://costumes.glittersweet.com/phantom/wishing.htm
Replica of the Blue Dress from the Aussie productions of Phantom of the
Opera.

http://costumes.glittersweet.com/dracula/2mina.htm
Red dress from the 1992 movie of Dracula (I also put up a subsection for
other people's recreations.)

http://costumes.glittersweet.com/sca/k/2cleves.htm
Bruyn inspired gown from the Cleves/Cologne region. I have finally settled
on a sort of colour scheme;)

I'm also working on another fully pleated skirt from the 1880s but have yet
to decide on the style of bodice. I have lots of fabric for a few
interchangeble styles actually.


Twiddling my fingers til my posts show up..

michaela de bruce
http://glittersweet.com



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Subject: [h-cost] Equestrian costuming and other period tack
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I am going to attempt to put in short version a very long subject------First
of all, the Victorian idea of modesty is just that---Victorian.   Most
periods before this time frame did not have the "modesty" that we refer to
and women (and Ladies) that rode and controlled their own horse would ride
astride.  Women that were traveling but, did not "Ride" would travel by
Pillion saddle.  This is a saddle that sits the rider totally side ways on
the horse with a platform under the feet.  There are numerous references,
paintings, and tapestries that depict this style of travel for women.  When
traveling like this, there is usually a groom to lead and control the horse
that the woman is on top of.  By the 16 th century, Catherine de Medici
began to ride "Side-Saddle" for hunting.  She actually took her husband's
hunting saddle and threw her leg over the front horn.  By doing this, she
was actually still facing forward while both legs were on the same side.
Elizabeth I copied her style and also rode "side-saddle".  There is what is
considered one of Elizabeth I 's side saddles in one of the London museums.
Although considered quite an accomplished rider and well verse in hunting,
when doing a parade or any public display, Queen Elizabeth I was normally
being led to insure nothing could happen to endanger her. There are also
accounts of Queen Elizabeth I wearing her Farthingale and that they were so
large as to dwarf the mount she was riding.  There are numerous portraits of
Ladies and Queens riding astride through the 17 th century.  It is not until
the Victorian time frame that it becomes extremely improper for a Lady to
ride astride. 

 

Why ride side saddle?  Clothes.  One can wear a skirt with a much smaller
circumference if they are riding side saddle.  To make a skirt that looks
good and covers the rider's leg when riding astride takes a minimum of 7
yards.  I can make a side saddle skirt in 4 yards.

 

In case no one can tell----I find the history of the side saddle fascinating
and I also ride side-saddle. I also used to give jumping demos side-saddle
and I ride the SCA Equestrian games side saddle.   I have run rings, hit
quintains, etc. all in my side saddle and wearing my full Elizabethan gowns
(and won).  I currently own two modern jumping side saddles and one 1846
antique western side saddle that I bought from the family it was originally
made for.

 

Sorry----my post got longer than I anticipated,

 

Diane  

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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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> sideways with their back parallel to
> the right side of the horse and their feet at right angles to the
> horse's left side.

> I've never seen anything depicting this style of riding.  Links ?  I can
see
> where a footman would have to lead a person seated like this, as it would
be
> a little like driving a car from the backseat. This position would put the
> woman more in the class of cargo, rather than "riding". It would be a form
> of transportation similar to sitting in a wagon, I'm sure.

I have some images from 16thC woodcuts, and I think the tapestry of
Maximilian
shows Maria of Hungary riding like this (though the view is from the back so
it's a bit hard to tell.)
http://img.photobucket.com/albums/v609/glittersweet/frau/ammanwomanonhorsebackholdingfan.jpg
http://img.photobucket.com/albums/v609/glittersweet/frau/ammonmanandwomanhavingaconversationonhorseback.jpg
http://img.photobucket.com/albums/v609/glittersweet/frau/ammonwomanonhoresback.jpg

Sorry I don't have the folder public, so if the links are broken try this:
http://photobucket.com/albums/v609/glittersweet/frau/
Then pasting the file names individually:
ammanwomanonhorsebackholdingfan.jpg
ammonmanandwomanhavingaconversationonhorseback.jpg
ammonwomanonhoresback.jpg

Certainly a less than comfortable ride if you want to face forward!

michaela de bruce
http://glittersweet.com




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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Pillion was sitting sideways on a cushion of some type behind the man, 
who was in control of the horse.

If a Lady were led, she could be sitting sideways with a backrest and a 
footboard (planchette) for her feet to rest on.  No stirrup (s).

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 6, 2006, at 9:18 PM, Sharon at Collierfam.com wrote:

>> From my reading, I've come across the term "pillion", which I always
> understood to mean behind the "main" rider, but never knew if it meant
> sideways or astride.
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On
> Behalf Of Susan Data-Samtak
> Sent: Monday, March 06, 2006 3:28 PM
> To: Historical Costume
> Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>
>  From what I've been able to find out:  he short version of Astride vs
> Aside:
>
> WOMEN rode any way they could-if they were able to get a horse to ride.
>   They either walked or maybe were able to catch a ride in a wagon.
>
> LADIES, on the other hand, adhered to strict rules of conduct and kept
> their legs together for propriety.  I know there are pictures of
> females riding astride as well as sideways with their back parallel to
> the right side of the horse and their feet at right angles to the
> horse's left side. (Did I make this perfectly unclear?) Like sitting in
> a chair.  Others rode sideways behind a man.  Some even had a board to
> place their feet on.  Often the horse was led by a footman, controlling
> the horse.  It was thought that ladies couldn't control a large beast
> like a horse.
>
> Women also rode "palfreys"-  gaited horses, also called "ambling"
> horses.  Supposedly, the Paso Fino Breed, (my horse is a PF) has the
> palfrey in its background.
>
> I've also heard that "women's legs aren't strong enough to control a
> horse" if riding astride. Ironically, I've heard that women have
> stronger thighs, and have better muscle shape TO control a horse if
> ridden astride.  Go figure!
>
> I ride aside, astride and with no saddle at all.  Bareback is the most
> comfortable for the horse and for me.  My Mac's back is round and
> padded with that smooth gait- can't beat it!  Saddle or not.
>
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel 
> too
> fast and you miss all you are traveling for".  - "Ride the Dark Trail" 
> by
> Louis L'Amour
>
> On Mar 6, 2006, at 5:42 PM, julian wilson wrote:
>
>> Susan Data-Samtak <pasovasz@aol.com> wrote:
>>   Annette and others-
>>
>> Can we make a subgroup that deals with riding outfits and horse items?
>> I'd hate to not get feedback from all the historical costumers on the
>> big list, but I don't want to annoy the rest of you with "horse
>> specific" questions. Much snippage ! But... I would have been in the
>> peasant class, as I am in real life!)
>>
>> Susan
>>
>> snip
>> On Mar 6, 2006, at 11:41 AM, Kahlara wrote:
>>
>>> Over the years I have found that most of my creative associations
>>> seem to have at least two or three similarities in other areas as
>>> well as the shared interest in which we first became aquainted.
>>>
>>> I have noticed several list members make reference to horses and
>>> riding. I ride and own horses also.Much snippage> Just a little
>>> generalizing. ;-)  COMMENT
>>   Annette, Susan, and others -
>>   according to Master Rhys Terafan Greydragon, - he estimates that of
>> the entire SCA membership, possibly only 10% can actually ride, - and
>> fewer still own their own horses.
>>    Presumeably the percentage of "riders" against "pedestrians" is
>> much the same in most other re-enactment groups, large and small -
>> Roman, Dark Ages, medieval, English Civil War, Frederick the Great,
>> Marlborough, 1776, Napoleonic Wars, Crimean War, US Civil War, Zulu &
>> Ashanti Wars, and Anglo-Boer War, &c, &c.
>>
>>   This is a huge percentage difference from the medieval period
>> covered by the SCA when one would suppose that the majority of the
>> population above Freedman-Status could ride, - and of course true also
>> for those of the rest of us interested in any other Period
>> Re-enactment up to and including about 1914 Gregorian.
>>   There must be so much specialised "Equestrian Lore" of costume, of
>> bardings, of other tacks - of which we are unaware, - it would seem
>> likely to be a subject of considerable interest to those of us who
>> don't "ride" horses in these Modern Middle Ages.  For example.......
>>   The "riding side-saddle, riding astride"-debate has it's own
>> fascinations - Chaucer's illustrators clearly show the female Pilgrims
>> riding astride - but I have read comments confusing the issue, by
>> moderns, flatly stating that even during the 15th Century, all women
>> rode fully-side-saddle, or sat behind a Male servant.  Did this call
>> for divided skirts? or did women wear hosen under their skirts so as
>> to be able to ride astride yet keep their modesty? At what Time point
>> and in which Kingdoms did it become "immodest" and frowned-upon for
>> women to ride astride?
>>   I would support such a subgroup, and kibitz in the hope of learning
>> much new information.
>>   Julian,
>>   in Old Jersey
>>
>>
>>
>>
>>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 6, 2006, at 8:47 PM, Land of Oz wrote:

> LADIES, on the other hand, adhered to strict rules of conduct and kept
> their legs together for propriety.  I know there are pictures of
> females riding astride as well as
>
> sideways with their back parallel to
> the right side of the horse and their feet at right angles to the
> horse's left side.
> -------------------------
>
> I've never seen anything depicting this style of riding.  Links ?  I 
> can see where a footman would have to lead a person seated like this, 
> as it would be a little like driving a car from the backseat. This 
> position would put the woman more in the class of cargo, rather than 
> "riding". It would be a form of transportation similar to sitting in a 
> wagon, I'm sure.

Exactly.  A Lady wasn't "able" to do anything without a man to help.  
As far as a link- anyone with medieval knowledge have a sketch showing 
this?
>
> Which is not the same at all as riding side-saddle.  I can't speak to 
> specific time periods but I know I have read descriptions of women 
> wearing breeches or jodhpurs under a "false" skirt that looked and 
> functioned like a skirt when walking, but had a buttoned panel 
> associated with function under saddle.
The Safety Apron was invented over a century ago.  I have seen a 
garment that is a "transition" from full skirt to the modern (Safety) 
apron.  The modern apron is only long enough to cover your backside 
while seated in the sidesaddle.  The "skirt" part is shaped with a dart 
or curved seam to accommodate the upraised knee around the upper 
pommel. The rest of the skirt is long, to just reveal the ankle, when 
on horseback.  When dismounted, the rider buttons the long skirt up, 
sweeping it around her butt, then buttoning it on the right side.  this 
effectively pulls the excess fabric from where it is not necessary to 
where it is definitely necessary, on foot.  All bases are covered.
>
> Also, with the volume of skirts and the layers under the skirts, I 
> can't see where modesty would be a problem when riding sidesaddle.  
> The position is similar sitting on a barstool with the right leg 
> hooked on a high rung, and the left foot very close to the floor. 
> Mounting the horse in public would probably take a *lot* of private 
> practice and a very steady horse, but I'm sure it could be 
> accomplished w/o displaying much more than some inner hem. When horses 
> were primary modes of transportation, mounting blocks were available 
> just about everywhere and that would help a lot!

The "propriety point" is that a LADY did not spread her legs apart.

LADIES had grooms and footmen who did "everything" for them, except 
ride!  A LADY merely appeared and mounted.  Rode, then dismounted.  As 
I understand it, "street clothing" were used for riding until around 
the 18th century.  I know that riding trowsers could be a part of a 
Victorian habit.  At this time, the skirt volume was becoming 
streamlined.  The riding habit is very plain and severe in style.  It 
is often referred to as "mannish".  Later, the safety apron evolved.

Here is a web site that shows some of the changes over time.   
http://www.hoosierladiesaside.com/habits.html
also    http://www.victorianladiesaside.com/gallery/    Mostly US Civil 
War, North, South and Civilian impressions.

As I mentioned, we make the clothing to reflect the times but we are 
eminently aware that this Is the 21st Century.  Safety first when 
riding sidesaddle. We usually don't have a groom to do all the work 
associated with "horsekeeping".  We must change from LADY to WOMAN, 
from upper class to common person- in a flash- then back, again.
>
> I would join an equestrian clothing group!
> Denise
>
> _______________________________________________
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From h-costume-bounces@indra.com  Tue Mar  7 08:35:37 2006
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	<440C87E1.6090209@reddawn.net>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)
Date: Tue, 7 Mar 2006 08:35:56 -0500
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Ain't modern fabrics a wonder?
Early in my collecting career, I spent days mending and shoring up of a
fragile georgette   to get it to a wearable state (plainly rescued from the
burn barrel).  it was a wonderful pale peach color ornamented with tiny
silver beads and sequins.  When I had done all I could to give it one more
outing I thought I would just dip it in the sink to freshen it.  Ten minutes
later I returned to rinse it and all that remained of the lovely design was
the beads. (No one had yet told me that sequins from just about before WW2
were made of gelatin!
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 06, 2006 2:05 PM
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)


> Leah L Watts wrote:
>
> >
> > I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
> > was a synonym for "We Couldn't Be Bothered To Test This But Don't Want
To
> > Be Held Responsible".
>
> I picked up a gorgeous fully beaded and sequinned evening gown at a
> local thrift shop with just such a tag. It reeked of  "dancing all night
> in a smoky club" but for $4 I took a chance. Laid it in a tub of cold
> water with mild soap and just kind of swished it gently and it came out
> beautifully.
>
> I'm all ready for the palace ball, I just need my glass slippers and the
> invitation from the prince....
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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From h-costume-bounces@indra.com  Tue Mar  7 08:52:41 2006
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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] Sorry for this,
	testing but also latest projects if you are bored.
Date: Tue, 7 Mar 2006 08:57:15 -0500
To: Historical Costume <h-costume@indra.com>
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I wanted to take a look at these costumes, but my server can't seem to 
find your server!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

On Mar 7, 2006, at 3:02 AM, michaela wrote:

> I haven't had my last several emails I posted to the list, and a few 
> before
> that were delayed by several days, not just a few hours. I was 
> wondering if
> others are having the same issue. Then I can narrow down where the 
> problem
> might be. I may just be getting the mail delayed to me, I have no idea 
> when
> they are getting to other people.
>
> I noticed I had a warning about messages bouncing a while back on some 
> list
> and I think it was this one (which is mad as I have had constant 
> uptime with
> this email address and if I'm away will change to digest mode.)
>
> Anyway, if this does go through (9pm Tuesday March 7 NZ time which is 
> +12
> hours GMT) I have recently updated my website with costumes I haven't 
> linked
> from my main page before.
>
> Latest projects are:
> http://costumes.glittersweet.com/phantom/wishing.htm
> Replica of the Blue Dress from the Aussie productions of Phantom of the
> Opera.
>
> http://costumes.glittersweet.com/dracula/2mina.htm
> Red dress from the 1992 movie of Dracula (I also put up a subsection 
> for
> other people's recreations.)
>
> http://costumes.glittersweet.com/sca/k/2cleves.htm
> Bruyn inspired gown from the Cleves/Cologne region. I have finally 
> settled
> on a sort of colour scheme;)
>
> I'm also working on another fully pleated skirt from the 1880s but 
> have yet
> to decide on the style of bodice. I have lots of fabric for a few
> interchangeble styles actually.
>
>
> Twiddling my fingers til my posts show up..
>
> michaela de bruce
> http://glittersweet.com
>
>
>
> -- 
> No virus found in this outgoing message.
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> 6/03/2006
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming and other period tack
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Status: RO

Diane,

Thank you for putting the history in order.

I am fumbling around, looking for information about riding and 
costuming.  You know how it goes.  Research leads to more research.  I 
find myself in interesting side researches, too. That's how I made a 
golfing outfit and learned to decorate a Bustle Hat as wells as, an 
Edwardian hat, made from scratch. Fun things that I never thought I'd 
do. That's how I found and joined this costume list-curiosity.

I'd love to see photos of your saddles and your clothing.  I am so 
impressed!  SCA with all its rich fabrics and equestrian games is 
fascinating.  What brand of saddle do you use for SCA?

Do you know Kate from PA? She does SCA, as well.

Susan (NJ)

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 6, 2006, at 10:28 PM, Diane Maynard wrote:

> I am going to attempt to put in short version a very long 
> subject------First
> of all, the Victorian idea of modesty is just that---Victorian.   Most
> periods before this time frame did not have the "modesty" that we 
> refer to
> and women (and Ladies) that rode and controlled their own horse would 
> ride
> astride.  Women that were traveling but, did not "Ride" would travel by
> Pillion saddle.  This is a saddle that sits the rider totally side 
> ways on
> the horse with a platform under the feet.  There are numerous 
> references,
> paintings, and tapestries that depict this style of travel for women.  
> When
> traveling like this, there is usually a groom to lead and control the 
> horse
> that the woman is on top of.  By the 16 th century, Catherine de Medici
> began to ride "Side-Saddle" for hunting.  She actually took her 
> husband's
> hunting saddle and threw her leg over the front horn.  By doing this, 
> she
> was actually still facing forward while both legs were on the same 
> side.
> Elizabeth I copied her style and also rode "side-saddle".  There is 
> what is
> considered one of Elizabeth I 's side saddles in one of the London 
> museums.
> Although considered quite an accomplished rider and well verse in 
> hunting,
> when doing a parade or any public display, Queen Elizabeth I was 
> normally
> being led to insure nothing could happen to endanger her. There are 
> also
> accounts of Queen Elizabeth I wearing her Farthingale and that they 
> were so
> large as to dwarf the mount she was riding.  There are numerous 
> portraits of
> Ladies and Queens riding astride through the 17 th century.  It is not 
> until
> the Victorian time frame that it becomes extremely improper for a Lady 
> to
> ride astride.
>
>
>
> Why ride side saddle?  Clothes.  One can wear a skirt with a much 
> smaller
> circumference if they are riding side saddle.  To make a skirt that 
> looks
> good and covers the rider's leg when riding astride takes a minimum of 
> 7
> yards.  I can make a side saddle skirt in 4 yards.
>
>
>
> In case no one can tell----I find the history of the side saddle 
> fascinating
> and I also ride side-saddle. I also used to give jumping demos 
> side-saddle
> and I ride the SCA Equestrian games side saddle.   I have run rings, 
> hit
> quintains, etc. all in my side saddle and wearing my full Elizabethan 
> gowns
> (and won).  I currently own two modern jumping side saddles and one 
> 1846
> antique western side saddle that I bought from the family it was 
> originally
> made for.
>
>
>
> Sorry----my post got longer than I anticipated,
>
>
>
> Diane
>
> _______________________________________________
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Tue, 7 Mar 2006 08:58:02 -0500
To: Historical Costume <h-costume@indra.com>
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<<I have some images from 16thC woodcuts, and I think the tapestry of  
Maximilian shows Maria of Hungary riding like this (though the view is  
from the back so
> it's a bit hard to tell.)
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammanwomanonhorsebackholdingfan.jpg
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammonmanandwomanhavingaconversationonhorseback.jpg
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammonwomanonhoresback.jpg
 >>

Perfect!    Thanks.  The first link shows the front.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 7, 2006, at 12:11 AM, michaela wrote:

>> sideways with their back parallel to
>> the right side of the horse and their feet at right angles to the
>> horse's left side.
>
>> I've never seen anything depicting this style of riding.  Links ?  I  
>> can
> see
>> where a footman would have to lead a person seated like this, as it  
>> would
> be
>> a little like driving a car from the backseat. This position would  
>> put the
>> woman more in the class of cargo, rather than "riding". It would be a  
>> form
>> of transportation similar to sitting in a wagon, I'm sure.
>
> I have some images from 16thC woodcuts, and I think the tapestry of
> Maximilian
> shows Maria of Hungary riding like this (though the view is from the  
> back so
> it's a bit hard to tell.)
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammanwomanonhorsebackholdingfan.jpg
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammonmanandwomanhavingaconversationonhorseback.jpg
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammonwomanonhoresback.jpg
>
> Sorry I don't have the folder public, so if the links are broken try  
> this:
> http://photobucket.com/albums/v609/glittersweet/frau/
> Then pasting the file names individually:
> ammanwomanonhorsebackholdingfan.jpg
> ammonmanandwomanhavingaconversationonhorseback.jpg
> ammonwomanonhoresback.jpg
>
> Certainly a less than comfortable ride if you want to face forward!
>
> michaela de bruce
> http://glittersweet.com
>
>
>
>
> -- 
> No virus found in this outgoing message.
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> 6/03/2006
>
> _______________________________________________
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> h-costume@mail.indra.com
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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: [h-cost] Producing Shakespeare (some choice costume notes!)
Date: Tue, 7 Mar 2006 09:24:53 -0500
To: Historical Costume <h-costume@indra.com>
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A colleague sent me this link. It's how-NOT-to tips about Shakespeare 
productions, many concerning costumes, most or all evidently written 
from experience. Give yourself plenty of time to absorb, reflect, howl 
with laughter.

http://angevin2.livejournal.com/148520.html


--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

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	testing but also latest projects if you are bored.
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Speaking of servers not liking people, does anyone know if Saragrace Knauf's 
website has up and died away completely, or if it's just hibernating?

-E House 

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Subject: Re: [h-cost] The Change & Hand Fans
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> Okay ladies... how many of you have had hot flashes and found that your
hand
> fans are your new best friend?

Me, Me!

"Is it hot in here?"

"I don't know, ask someone younger. "

Margo

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From: "Jeanine E. Swick" <jeanine@woollycat.net>
Subject: Re: [h-cost] Cossack coat
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Amazon Dry Goods still has some in stock.  It is pattern number 502. 

Jeanine

Lynn Downward wrote:

>Is Folkwear's Cossack pattern still available?
>
>LynnD
>
>
>On 2/25/06, Five Rivers Chapmanry <lgsteph@wightman.ca> wrote:
>  
>
>>           Speaking of making your own clothes, it has been my desire for
>>some time to make myself a new winter coat, one which is fashionable and
>>warm, something to go with the stunning sable and mink Russian style hat I
>>have.
>>
>>
>>
>>           Does anyone have any idea where I might be able to find a
>>pattern, or photos, of these wonderful coats? I've searched the net for
>>days
>>on end to no avail. I can't find that big-skirted, wide collared coat with
>>the huge cuffs I so have loved for years.
>>
>>
>>
>>Regards,
>>
>>Lorina
>>
>>Five Rivers Chapmanry
>>
>>purveyors of historical sewing patterns, quality hand-crafted cooperage,
>>re-enactor and embroidery supplies, and more.
>>
>>519-799-5577 info@5rivers.org - www.5rivers.org
>>
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>    
>>
>_______________________________________________
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>
>  
>
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Splendid pictures! I love the middle one on the second row; it looks like a painting by Joseph Wright ( the famous artist from my home town of Derby who specialised in, among other things, candlelight scenes). See http://www.mezzo-mondo.com/arts/mm/wright/WRJ014.html 


Kate Bunting
Librarian and 17th century reenactor

>>> drewscph@post12.tele.dk 06/03/2006 20:27 >>>
Hi,
Shameless of me, i uploaded the first clickable pictures with the ones of 
myself. Its so seldom i had any pictures of me wearing the blue suit, and 
also my humble mundane.
http://www.my-drewscostumes.dk/soiredhiver3.htm 
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk 

http://home0.inet.tele.dk/drewscph/ 


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From h-costume-bounces@indra.com  Tue Mar  7 13:48:07 2006
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Date: Tue, 7 Mar 2006 18:44:06 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Funny Nail Polish Colors
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Fantastic!  I'm busy decorating - this makes such a welcome change from 
"sorbet" and "mist" and "spice".

I'm disappointed with My Chihuahua Bites, though - I think it should be 
poison green.  I was traumatised as a child by a ballet examiner with 
bright green nail polish and a small dog under the desk.

Jean


Penny Ladnier <penny@costumegallery.com> wrote
>I am always looking for funny color names.  OPI has some 2006 nail 
>polish colors names!  Check these out:
>Reds:
>*** I'm Not Really a Waitress
>*** Nice Color, Eh?
>*** O'Hare & Nails Look Great!
>*** SoHo Nice to Meet You
>*** You Rock-apulco Red
>*** My Chihuahua Bites! (my favorite)
>
>To view all their color names go to http://www.opi.com/
>
>Penny E. Ladnier
>Owner,
>The Costume Gallery, www.costumegallery.com
>Costume Classroom, www.costumeclassroom.com
>Costume Research Library, www.costumelibrary.com
>_______________________________________________
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-- 
Jean Waddie
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Dear Kate,
Thanks, this is not a picture i took, but you are right, it has a very nice 
lightening in it. I make a mistake by using flash i know, but i have tryed 
to not use flash with my digital camera, and the pictures gets very dark. I 
want people to be able to see the costumes, and therefore i use flash.
I am very pleased if some of you like the pictures, it was a real nice 
weekend.

Bjarne
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Tuesday, March 07, 2006 6:47 PM
Subject: Re: [h-cost] soirée d´hiver more pictures


> Splendid pictures! I love the middle one on the second row; it looks like 
> a painting by Joseph Wright ( the famous artist from my home town of Derby 
> who specialised in, among other things, candlelight scenes). See 
> http://www.mezzo-mondo.com/arts/mm/wright/WRJ014.html
>
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> drewscph@post12.tele.dk 06/03/2006 20:27 >>>
> Hi,
> Shameless of me, i uploaded the first clickable pictures with the ones of
> myself. Its so seldom i had any pictures of me wearing the blue suit, and
> also my humble mundane.
> http://www.my-drewscostumes.dk/soiredhiver3.htm
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> ______________________________________________________________________
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> 


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How do I access the archives?  I'd look to see if any advice has been
offered in the past, but I have no idea where to look.

I'll be heading to Europe in late June / early July, and like to know if
there are any good women's clothing collections in the cities I'll be
visiting.  I'm interested primarily in 18th century.

I'll be visiting Munich, Venice and Paris.

Thanks for your help!

Kristin
(costuming novice, but sewing since childhood)
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT - Archives, Costume exhibits overseas...
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On Tue, 7 Mar 2006, Kristin wrote:

> How do I access the archives?  I'd look to see if any advice has been
> offered in the past, but I have no idea where to look.

The closest thing we have to an archive is here, thanks to the faithful
efforts of listmember Eric Praetzel:

http://sca.uwaterloo.ca/~fashion/archives/

But your question is worth asking fresh. Exhibits change all the time.

--Robin

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To: "Historical Costume" <h-costume@indra.com>
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	<001901c64201$bd17ec60$e72a5142@dnyeaqvf>
Subject: Re: [h-cost] The Change & Hand Fans
Date: Tue, 7 Mar 2006 17:01:21 -0500
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>> Okay ladies... how many of you have had hot flashes and found that your
> hand
>> fans are your new best friend?
> 
> Me, Me!
> 
> "Is it hot in here?"
> 
> "I don't know, ask someone younger. "
> 
> Margo

I'm no good, even if I *am* younger. I'm always cold :-)

"Is it cold in here?"

"I don't know, ask someone normal."
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Date: Tue, 07 Mar 2006 17:03:41 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Funny Nail Polish Colors
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Personally I would love some of those Elizabethan colors: Dead Spaniard and
Dirty Isabella come to mind... :-)

Monica Spence

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Jean Waddie
Sent: Tuesday, March 07, 2006 1:44 PM
To: Historical Costume
Subject: Re: [h-cost] Funny Nail Polish Colors


Fantastic!  I'm busy decorating - this makes such a welcome change from
"sorbet" and "mist" and "spice".

I'm disappointed with My Chihuahua Bites, though - I think it should be
poison green.  I was traumatised as a child by a ballet examiner with
bright green nail polish and a small dog under the desk.

Jean


Penny Ladnier <penny@costumegallery.com> wrote
>I am always looking for funny color names.  OPI has some 2006 nail
>polish colors names!  Check these out:
>Reds:
>*** I'm Not Really a Waitress
>*** Nice Color, Eh?
>*** O'Hare & Nails Look Great!
>*** SoHo Nice to Meet You
>*** You Rock-apulco Red
>*** My Chihuahua Bites! (my favorite)
>
>To view all their color names go to http://www.opi.com/
>
>Penny E. Ladnier
>Owner,
>The Costume Gallery, www.costumegallery.com
>Costume Classroom, www.costumeclassroom.com
>Costume Research Library, www.costumelibrary.com
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

--
Jean Waddie
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Date: Tue, 07 Mar 2006 17:05:26 -0500
From: monica spence <monicaspence@optonline.net>
In-reply-to: <Pine.LNX.4.10.10603071526220.24903-100000@shell.nightowl.net>
To: Laurel <discuss-laurel@lists.eastkingdom.org>,
        Maunche <discuss-maunche@lists.eastkingdom.org>,
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Hi all-- 
This was just on my email  list for the Costume Society of America.
Regards- 
Monica Spence 
(Catriona MacDuff in the SCA)


NEW ONLINE RESOURCE

A new research resource for 16th Century dress is now
online. A pilot database of images is available at:
http://www.jmdsrv1.dyndns.org/tudoreffigies. Compiled by Dr.
JANE MALCOLM-DAVIES [International Region VIII] of the
Winchester School of Art, this is the first stage of a
proposed project to photograph and disseminate images of
Tudor effigies in UK churches. The pilot database contains
44 effigies with photographs of items and features of dress.
This represents about two per cent of the material that
could be compiled. Eventually, each effigy and its details
will have a description with appropriate 16th Century terms
and an explanation of how they were worn. Feedback on the
database will help with continued funding for the project.
Please visit
http://www.jmdsrv1.dyndns.org/tudoreffigies and send
comments to: mailto:jane@jmdandco.com.

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Margo,

Have you seen the new commercial about women and hot flashes.  They are so 
funny.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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	<00c301c64232$ac1cbb80$0302a8c0@p4audrey>
Subject: Re: [h-cost] The Change & Hand Fans
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Audrey,

I was cold for years.  But when the change hit it is the opposite.  I was 
driving down the highway this morning with the windows down... it was 30 
degrees outside.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: Re: [h-cost] Funny Nail Polish Colors
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Monica,

I haven't heard of dirty Isabella as a color name before.  What source did 
you use to find that name?

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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References: <20060306.061012.1840.0.LLWatts@juno.com>
	<00c101c641bd$75ff5550$0401010a@michaela>
Subject: Re: [h-cost] Sorry for this,
	testing but also latest projects if you are bored.
Date: Wed, 8 Mar 2006 00:27:07 +0100
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Hi Michaela,
Thanks for posting the links. I enjoyed it very much. Loved your bustle 
dresses, and how the h.......did you make that picture with changeable 
colours?
Very impressive!!!

Bjarne

----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 07, 2006 9:02 AM
Subject: [h-cost] Sorry for this,testing but also latest projects if you are 
bored.


>I haven't had my last several emails I posted to the list, and a few before
> that were delayed by several days, not just a few hours. I was wondering 
> if
> others are having the same issue. Then I can narrow down where the problem
> might be. I may just be getting the mail delayed to me, I have no idea 
> when
> they are getting to other people.
>
> I noticed I had a warning about messages bouncing a while back on some 
> list
> and I think it was this one (which is mad as I have had constant uptime 
> with
> this email address and if I'm away will change to digest mode.)
>
> Anyway, if this does go through (9pm Tuesday March 7 NZ time which is +12
> hours GMT) I have recently updated my website with costumes I haven't 
> linked
> from my main page before.
>
> Latest projects are:
> http://costumes.glittersweet.com/phantom/wishing.htm
> Replica of the Blue Dress from the Aussie productions of Phantom of the
> Opera.
>
> http://costumes.glittersweet.com/dracula/2mina.htm
> Red dress from the 1992 movie of Dracula (I also put up a subsection for
> other people's recreations.)
>
> http://costumes.glittersweet.com/sca/k/2cleves.htm
> Bruyn inspired gown from the Cleves/Cologne region. I have finally settled
> on a sort of colour scheme;)
>
> I'm also working on another fully pleated skirt from the 1880s but have 
> yet
> to decide on the style of bodice. I have lots of fabric for a few
> interchangeble styles actually.
>
>
> Twiddling my fingers til my posts show up..
>
> michaela de bruce
> http://glittersweet.com
>
>
>
> -- 
> No virus found in this outgoing message.
> Checked by AVG Free Edition.
> Version: 7.1.375 / Virus Database: 268.2.0/275 - Release Date: 6/03/2006
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Equestrian costuming and other period tack
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Here are a couple from the 17th century, courtesy of Web Gallery of Art:

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Isabel of Bourbon Equestrian
1634-35
Oil on canvas, 301 x 314 cm
Museo del Prado, Madrid
http://www.wga.hu/art/v/velazque/05/0506vela.jpg

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Margarita on Horseback
1634-35
Oil on canvas, 297 x 309 cm
Museo del Prado, Madrid
http://www.wga.hu/art/v/velazque/05/0503vela.jpg

It's really hard for me to tell whether they're riding astride or 
sidesaddle, but perhaps someone with more equestrian experience could 
venture.

Melanie Schuessler
http://www.faucet.net/costume

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From: "Diane Maynard" <camelothorse@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Equestrian costuming and other period tack
Date: Tue, 7 Mar 2006 19:08:23 -0600
Organization: Camelot Horse Center
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I can tell you that that I believe that BOTH of these paintings are of women
riding ASTRIDE.   These are two of my favorite paintings and I have
duplicated both of these gowns for myself.  It takes a LOT of material to
make the skirts of these gowns.  If one is riding side-saddle, the gown will
not "envelope" the hind quarters of the horse the way these gowns do.  I
side saddle gown will literally hang to the side of the legs (covering the
legs)and not cover the hindquarters of the horse.

Diane


VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Isabel of Bourbon Equestrian
1634-35
Oil on canvas, 301 x 314 cm
Museo del Prado, Madrid
http://www.wga.hu/art/v/velazque/05/0506vela.jpg

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Margarita on Horseback
1634-35
Oil on canvas, 297 x 309 cm
Museo del Prado, Madrid
http://www.wga.hu/art/v/velazque/05/0503vela.jpg

It's really hard for me to tell whether they're riding astride or 
sidesaddle, but perhaps someone with more equestrian experience could 
venture.




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Bjarne:

These pictures are lovely, and how nice to see so many of you! I am curious
about the event. Are you all in the same Society? How do you know each
other? Are you from different countries, and if so what language(s) do you
speak when you are all together?

That military uniform (I think it is one) is just so gorgeous! And the
picture of you dancing with the girl in red -- she looks so perfect. It must
have been a wonderful weekend. Who cooked?

Gail Finke

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Date: Tue, 7 Mar 2006 19:35:54 -0800 (PST)
From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
To: Historical Costume <h-costume@indra.com>
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Spreading the legs apart when they are decently
covered with long skirts is perfectly okay.  

Ruth M. Green, in her "Wearing of Costume", mentions
that keeping the legs together in long skirts is not
particularly decent nor is it necessary.  
The eighteenth century in particular showed the 'broad
lap'.  
The nineteenth century Huck Finn was caught out when
cross-dressing--a girl would spread her legs to let
her skirt catch something thrown, while Huck, used to
pants, closed his legs to catch something.

It wasn't until the short skirts of the twentieth
century that it became "not Nice" for a girl to have
her legs apart.

Mistakes mine; it's been a while since I read Ms.
Green's book.  Or Huck Finn.

Ann in CT

--- Susan Data-Samtak <pasovasz@aol.com> wrote:
>The "propriety point" is that a LADY did not spread
> her legs apart.
> 
> Susan


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Change & Hand Fans
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Quoting Audrey Bergeron-Morin <audreybmorin@gmail.com>:

>>> Okay ladies... how many of you have had hot flashes and found that your
>> hand
>>> fans are your new best friend?
>>
>> Me, Me!
>>
>> "Is it hot in here?"
>>
>> "I don't know, ask someone younger. "
>>
>> Margo
>
> I'm no good, even if I *am* younger. I'm always cold :-)
>
> "Is it cold in here?"
>
> "I don't know, ask someone normal."

And you *really* know that you've got problems when your always "cold"
except when you're having a hot flash.

*sigh*

At least they've gone!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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I'm looking for more online galleries like The Web Gallery of Art at 
wga.hu, sites with a large collection of searchable images and 
information about those images. Can anyone suggest some new sites to 
visit? I'm increasingly frustrated with museum sites that list little 
more than the accession number along with a thumbnail. I really want to 
be able to see the art in detail and read about the artist or the subject.


Dawn


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Date: Tue, 7 Mar 2006 20:54:17 -0800
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I usually wash as much as possible, however, washing polished cotton has
resulted in the "polish" washing out, and stiff taffeta got limp and
wrinkly. I wash my cotton velvet Renaissance costume and the silk
sleeves/forepart. Also dry in dryer until just damp.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Chris Laning
Sent: Sunday, March 05, 2006 12:21 PM
To: Historical Costume
Subject: RE: [h-cost] abuse of fabrics (aka care and washing) question


At 10:40 AM -0600 3/5/06, Betsy Marshall wrote:
>My information is that dry cleaning helps preserve the fabric 
>treatments used by the manufacturer- either fabric or clothing 
>processes; so fabric of wool, linen, silk or combinations thereof, 
>_can_ be washed, just be prepared for the size/hand/texture to change. 
>(Personally I toss it all in the washer on cold and let the chips, er, 
>scraps fall where they may.)

My philosophy is to give the finished garment a cleaning treatment 
that's one step gentler than the washing I gave the fabric before I 
cut it out. I pretty much machine wash all yardage as soon as I get 
it home and the edges zigzagged.

This has worked a lot better for some things than others. I've not 
had any problems with linen or silk, but I've learned to be more 
careful about wool, especially about tumble drying it. I had a wool 
Elizabethan gown (and I can now boast that it was custom-made for me 
by Margo -- yes, THAT Margo, of Margo's patterns <g>) and she washed 
my wool yardage on hot, _three_ times before she cut it out. And I 
washed it on cold and dried it on barely lukewarm, and it DID shrink, 
almost three inches in length after half a dozen washings. :(
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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The program for CC 24 is currently in development.  It is typical 
that the program is not finalized until a month or so before the 
convention.  If there is something that you would particularly like 
to see, or something you would like to present, now is the time to 
contact our program director, Sheril Harper, at:  programming@epicmovies.org
Or you can contact us and we'll forward it to her.

BTW, we very likely will be doing the chemical and burn test panel 
that has been discussed here in the past.

Sandy

At 09:28 PM 3/6/2006, you wrote:
>Date: Mon, 06 Mar 2006 16:16:28 -0600
>From: Dawn <dawn@reddawn.net>
>Subject: [h-cost] CostumeCon
>
>I was wondering who all from the list was thinking of going. Or who
>would be lecturing there. Anyone?
>
>I notice that there's still next to no info available on the website,
>just a couple months out now, and I was wondering if I should be
>worried. Or do these things always pull themselves together at the last
>minute? I can already find thorough information on other events much
>later in the summer and I'm getting concerned because I have no idea
>what to expect from CostumeCon. I'm thinking I ought to reserve a hotel
>room pretty soon, if I'm going.
>
>Dawn

"Those Who Fail To Learn History
Are Doomed to Repeat It;
Those Who Fail To Learn History Correctly --
Why They Are Simply Doomed.

Achemdro'hm
"The Illusion of Historical Fact"
  -- C.Y. 4971

Andromeda  


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming and other period tack
Date: Wed, 8 Mar 2006 00:35:04 -0500
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Thank you Melanie.

The clothing is breathtaking.  I can't see the Queen riding at any gait 
faster than a walk without having the horse get tangled in all the 
heavy drapery.

I cannot tell if she is riding sidesaddle, either.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 7, 2006, at 8:15 PM, Melanie Schuessler wrote:

> Here are a couple from the 17th century, courtesy of Web Gallery of 
> Art:
>
> VELÁZQUEZ, Diego Rodriguez de Silva y
> Queen Isabel of Bourbon Equestrian
> 1634-35
> Oil on canvas, 301 x 314 cm
> Museo del Prado, Madrid
> http://www.wga.hu/art/v/velazque/05/0506vela.jpg
>
> VELÁZQUEZ, Diego Rodriguez de Silva y
> Queen Margarita on Horseback
> 1634-35
> Oil on canvas, 297 x 309 cm
> Museo del Prado, Madrid
> http://www.wga.hu/art/v/velazque/05/0503vela.jpg
>
> It's really hard for me to tell whether they're riding astride or 
> sidesaddle, but perhaps someone with more equestrian experience could 
> venture.
>
> Melanie Schuessler
> http://www.faucet.net/costume
>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"


> Spreading the legs apart when they are decently
> covered with long skirts is perfectly okay.
>
> Ruth M. Green, in her "Wearing of Costume", mentions
> that keeping the legs together in long skirts is not
> particularly decent nor is it necessary.
> The eighteenth century in particular showed the 'broad
> lap'.
> Ann in CT

Not only was it ok, but in some styles it was practically impossible to sit 
with the legs together.  I wear 1630's French clothing a lot, and with the 
long stomachers on the dresses, sitting with my legs apart is manditory. 
I've also got more than a few pictures of women riding astride from this 
period, including some who rode into combat during the 30 years and English 
Civil Wars.

Melusine 

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] The Change & Hand Fans
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A comedy sketch show on BBC Radio 4 had a running gag about a middle-aged superwoman figure who arrived saying "Is it me, or is it hot in here?", but was able to solve problems by knowing things that younger people don't (such as having the multiplication tables in her head).

Kate Bunting
Librarian and 17th century reenactor


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From h-costume-bounces@indra.com  Wed Mar  8 05:48:01 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <C033C3E7.1CDB0%gailscott@eos.net>
Subject: Re: [h-cost] Re: soiredhiver
Date: Wed, 8 Mar 2006 11:47:32 +0100
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Hi Gail.
Most of the people, i know from Gustavs Skål (the swedish gustavian society) 
We are spread out in Europe and the german friends came to Mauritia (Reinnes 
des Centfeuilles) They are willing to travel far to get to events like me 
coming from Denmark.
Mauritia has a big house, and she generously opened it for us all to come as 
we liked for 3 days.
Mauritia and her daughter Kim, cooked all the wonderfull food, baked bread 
set the table and so on. Saturday we went for an outing to an old castle, 
and afterwards we drove into the woods to a small inn, where Mauritia had 
ordered a lunch for us. Wonderfull red dear roast. This was the only thing 
we payed for individually, all the rest was free.
The uniform is very nice, its a preussian officers uniform. And the girl in 
red also wore the green redingote in front of the castle, and the yellow 
servantgirls outfit. She is a very tallented young girl, and i am sure you 
will hear more from here in the future. When i was her age, i didnt have 
half the tallent as she has. My favourite was her green redingote with a 
huge hat, it was so lovely.

Bjarne
----- Original Messag ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Wednesday, March 08, 2006 4:12 AM
Subject: [h-cost] Re: soiredhiver


>
> Bjarne:
>
> These pictures are lovely, and how nice to see so many of you! I am 
> curious
> about the event. Are you all in the same Society? How do you know each
> other? Are you from different countries, and if so what language(s) do you
> speak when you are all together?
>
> That military uniform (I think it is one) is just so gorgeous! And the
> picture of you dancing with the girl in red -- she looks so perfect. It 
> must
> have been a wonderful weekend. Who cooked?
>
> Gail Finke
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Wed Mar  8 07:45:41 2006
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Subject: Re: [h-cost] looking for sources of art
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CGFA and Olga's Gallery are good general sites:
http://cgfa.dotsrc.org/
http://www.abcgallery.com/index.html

If you're looking for works by a particular artist, or you know the 
title of a work but not the artist, try Artcyclopedia:
http://www.artcyclopedia.com/

Happy searching,
Melanie Schuessler
http://www.faucet.net/costume



Dawn wrote:
> I'm looking for more online galleries like The Web Gallery of Art at 
> wga.hu, sites with a large collection of searchable images and 
> information about those images. Can anyone suggest some new sites to 
> visit? I'm increasingly frustrated with museum sites that list little 
> more than the accession number along with a thumbnail. I really want to 
> be able to see the art in detail and read about the artist or the subject.
> 
> 
> Dawn
> 
> 
> _______________________________________________
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> 
> 



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To: h-costume@indra.com
Date: Wed, 8 Mar 2006 08:41:46 -0600
Subject: Re: [h-cost] Equestrian costuming and other period tack
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I'm not an expert on equestrian costume or riding side-saddle, but I
think these ladies ARE riding side-saddle. I can see the subtle outline
of the right leg wrapped around the saddle horn with the left leg hanging
more or less vertically. As for the skirt spreading, I have seen it done.
At Bristol, Mary Kababik, who plays Queen Elizabeth, has ridden in the
main parade on a side-saddle for the last 5 years and with the amount of
fabric in her skirt it looks almost exactly like that. In this painting
the ladies aren't riding perpendicular to the horse, they are riding more
or less parallel wi the horse with their lower body turned slightly to
the side. 

Just my ha'penny's worth,

Karen
Seamstrix




On Tue, 7 Mar 2006 19:08:23 -0600 "Diane Maynard"
<camelothorse@earthlink.net> writes:
> I can tell you that that I believe that BOTH of these paintings are 
> of women
> riding ASTRIDE.   These are two of my favorite paintings and I have
> duplicated both of these gowns for myself.  It takes a LOT of 
> material to
> make the skirts of these gowns.  If one is riding side-saddle, the 
> gown will
> not "envelope" the hind quarters of the horse the way these gowns 
> do.  I
> side saddle gown will literally hang to the side of the legs 
> (covering the
> legs)and not cover the hindquarters of the horse.
> 
> Diane
> 
> 
> VELÁZQUEZ, Diego Rodriguez de Silva y
> Queen Isabel of Bourbon Equestrian
> 1634-35
> Oil on canvas, 301 x 314 cm
> Museo del Prado, Madrid
> http://www.wga.hu/art/v/velazque/05/0506vela.jpg
> 
> VELÁZQUEZ, Diego Rodriguez de Silva y
> Queen Margarita on Horseback
> 1634-35
> Oil on canvas, 297 x 309 cm
> Museo del Prado, Madrid
> http://www.wga.hu/art/v/velazque/05/0503vela.jpg
> 
> It's really hard for me to tell whether they're riding astride or 
> sidesaddle, but perhaps someone with more equestrian experience 
> could 
> venture.
> 
> 
> 
> 
> _______________________________________________
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> 
> 
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: Re: [h-cost] The Change & Hand Fans
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Quoting Kate M Bunting <K.M.Bunting@derby.ac.uk>:

> A comedy sketch show on BBC Radio 4 had a running gag about a 
> middle-aged superwoman figure who arrived saying "Is it me, or is it 
> hot in here?", but was able to solve problems by knowing things that 
> younger people don't (such as having the multiplication tables in her 
> head).

That's good!

Just remember, Ladies, they're not Hot Flashes, they're Power Surges!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: [h-cost] Re: Equestrian costuming and other period tack
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In both of these paintings, there seems to be a piece of cloth covering the horse to its ankles underneath the ladies' gowns. Was this a standard part of saddlery, or was it specific to lady riders? (To protect their skirts, maybe?)
 
Tea Rose, who has ridden horses exactly twice in her life
 
************************************************************
From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost] Equestrian costuming and other period tack
Here are a couple from the 17th century, courtesy of Web Gallery of Art:

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Isabel of Bourbon Equestrian
http://www.wga.hu/art/v/velazque/05/0506vela.jpg

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Margarita on Horseback
http://www.wga.hu/art/v/velazque/05/0503vela.jpg
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Wed, 8 Mar 2006 11:33:00 -0500
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Thanks, Melusine.

 From what I've learned, so far, riding clothes were not very different 
from regular clothes until rather recently.  Sidesaddles are also a 
recent invention.  I've heard that sidesaddles, as we understand the 
term, did not exist prior to about 1800.  I don't know if that is true.

  I've also heard that many of the "conventions" followed by sidesaddle 
riders today, using english style sidesaddles, go back to Victorian 
times when so much of life was codified.  One example that was pointed 
out to me: black gloves are appropriate to use for US Rev War 
impressions, but definitely not for US Civil War, because Victorians 
used black gloves as part of their mourning attire and "A Lady would 
not be riding if she were in mourning.  A Lady would stay at home, or 
be driven in a carriage."  Can anyone confirm such a statement?

As you can see, I have a lot to learn.  I am first and foremost 
interested in my horse.  The rest of the costuming and tack are all 
newer areas to me and so much fun!

Thanks for all your input.

I'm sure it comes as no surprise that some of our 21st century women 
riding sidesaddle think it is OK to zip themselves into a polyester 
costume.  Others want to know more.  Some of us want to ride, look 
appropriate, yet be safe with all that our current century throws at 
us.  I consider myself to be in that last category.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 1:55 AM, Carmen Beaudry wrote:

> Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>
>> Spreading the legs apart when they are decently
>> covered with long skirts is perfectly okay.
>>
>> Ruth M. Green, in her "Wearing of Costume", mentions
>> that keeping the legs together in long skirts is not
>> particularly decent nor is it necessary.
>> The eighteenth century in particular showed the 'broad
>> lap'.
>> Ann in CT
>
> Not only was it ok, but in some styles it was practically impossible 
> to sit with the legs together.  I wear 1630's French clothing a lot, 
> and with the long stomachers on the dresses, sitting with my legs 
> apart is manditory. I've also got more than a few pictures of women 
> riding astride from this period, including some who rode into combat 
> during the 30 years and English Civil Wars.
>
> Melusine
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Subject: Re: [h-cost] Equestrian costuming and other period tack
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And just to confuse things, Catherine II is definitely riding astride  
in this painting in the 1700's.

<http://www.allposters.com/-sp/Equestrian-Portrait-of-Catherine-II 
-1729-96-the-Great-of-Russia-Posters_i1348988_.htm>>

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 9:41 AM, Karen R Bergquist wrote:

> I'm not an expert on equestrian costume or riding side-saddle, but I
> think these ladies ARE riding side-saddle. I can see the subtle outline
> of the right leg wrapped around the saddle horn with the left leg  
> hanging
> more or less vertically. As for the skirt spreading, I have seen it  
> done.
> At Bristol, Mary Kababik, who plays Queen Elizabeth, has ridden in the
> main parade on a side-saddle for the last 5 years and with the amount  
> of
> fabric in her skirt it looks almost exactly like that. In this painting
> the ladies aren't riding perpendicular to the horse, they are riding  
> more
> or less parallel wi the horse with their lower body turned slightly to
> the side.
>
> Just my ha'penny's worth,
>
> Karen
> Seamstrix
>
>
>
>
> On Tue, 7 Mar 2006 19:08:23 -0600 "Diane Maynard"
> <camelothorse@earthlink.net> writes:
>> I can tell you that that I believe that BOTH of these paintings are
>> of women
>> riding ASTRIDE.   These are two of my favorite paintings and I have
>> duplicated both of these gowns for myself.  It takes a LOT of
>> material to
>> make the skirts of these gowns.  If one is riding side-saddle, the
>> gown will
>> not "envelope" the hind quarters of the horse the way these gowns
>> do.  I
>> side saddle gown will literally hang to the side of the legs
>> (covering the
>> legs)and not cover the hindquarters of the horse.
>>
>> Diane
>>
>>
>> VELÁZQUEZ, Diego Rodriguez de Silva y
>> Queen Isabel of Bourbon Equestrian
>> 1634-35
>> Oil on canvas, 301 x 314 cm
>> Museo del Prado, Madrid
>> http://www.wga.hu/art/v/velazque/05/0506vela.jpg
>>
>> VELÁZQUEZ, Diego Rodriguez de Silva y
>> Queen Margarita on Horseback
>> 1634-35
>> Oil on canvas, 297 x 309 cm
>> Museo del Prado, Madrid
>> http://www.wga.hu/art/v/velazque/05/0503vela.jpg
>>
>> It's really hard for me to tell whether they're riding astride or
>> sidesaddle, but perhaps someone with more equestrian experience
>> could
>> venture.
>>
>>
>>
>>
>> _______________________________________________
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>> h-costume@mail.indra.com
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>>
>>
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Subject: [h-cost] Fans 
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All this talk of fans has reminded me that "Cool: Presenting a Cooling Image 
- Fans from The Fan Museum and Portraits from the Lafayette Photographic 
Archive at the V&A" is on at the Fan Museum (London, UK) until 26 March, in 
case anyone's interested.

http://www.fan-museum.org/exhibdetails.asp?exhibID=9


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Date: Wed, 8 Mar 2006 01:12:21 -0500
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Thanks, Ann.

Pays to ask questions or be corrected when incorrect.  I was under the 
impression that a lady never spread her legs apart, regardless of the 
layers that covered her.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 7, 2006, at 10:35 PM, Ann Catelli wrote:

> Spreading the legs apart when they are decently
> covered with long skirts is perfectly okay.
>
> Ruth M. Green, in her "Wearing of Costume", mentions
> that keeping the legs together in long skirts is not
> particularly decent nor is it necessary.
> The eighteenth century in particular showed the 'broad
> lap'.
> The nineteenth century Huck Finn was caught out when
> cross-dressing--a girl would spread her legs to let
> her skirt catch something thrown, while Huck, used to
> pants, closed his legs to catch something.
>
> It wasn't until the short skirts of the twentieth
> century that it became "not Nice" for a girl to have
> her legs apart.
>
> Mistakes mine; it's been a while since I read Ms.
> Green's book.  Or Huck Finn.
>
> Ann in CT
>
> --- Susan Data-Samtak <pasovasz@aol.com> wrote:
>> The "propriety point" is that a LADY did not spread
>> her legs apart.
>>
>> Susan
>
>
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I don't think there is anything quite like the Web Gallery of Art.  However, here are some good art sites.

http://marquise.de/index.html   This site won't tell you about the art, but the blow-ups are fair size and all the pictures are of costume.

http://www.enluminures.culture.fr/   The French have a massive data-base of manuscript illuminations.  The size of the image varies - often detail shots are available.  It can be searched by subject.

http://cgfa.dotsrc.org/index.html    This is similar to the Web Gallery of Art although not as complete.

http://www.bergerfoundation.ch/    I haven't used this site much.  The image quality is uneven but has some obscure things.

http://www.abcgallery.com/index.html    This is another site I haven't used much as it doesn't have a big selection in medieval and renaissance art.  On the other hand, their 18th cen. list of artists looks pretty extensive.

Janet
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Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
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With what I have read and seen in paintings during the past few years of my own research; I've only seen women on horses with that cloth covering.  What a saddle blanket!  Now, I do want to add that not all women riders used this type of cloth covering.

Roscelin

 -------------- Original message ----------------------
From: tearoses@aol.com
> In both of these paintings, there seems to be a piece of cloth covering the 
> horse to its ankles underneath the ladies' gowns. Was this a standard part of 
> saddlery, or was it specific to lady riders? (To protect their skirts, maybe?)
>  
> Tea Rose, who has ridden horses exactly twice in her life
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We discussed a 17th century print of a lady in a riding habit not long ago. It was in the 1660s that ladies began to wear habits with the upper half copying masculine attire.

Kate Bunting
Librarian and 17th century reenactor

>>> pasovasz@aol.com 08/03/2006 16:33:00 >>>
Thanks, Melusine.

 From what I've learned, so far, riding clothes were not very different 
from regular clothes until rather recently.  Sidesaddles are also a 
recent invention.  I've heard that sidesaddles, as we understand the 
term, did not exist prior to about 1800.  I don't know if that is true.

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Subject: Re: [h-cost] Isabella, was Funny Nail Polish Colors
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Penny,
I know it as just "Isabella". The story goes that a Queen of Spain vowed not to change her clothes until a certain military campaign had succeeded. Isabella is a greyish-yellow, supposedly the colour her shift became! Casn't quote any sources OTOH, but I've seen it mentioned in literature.

Kate Bunting
Librarian and 17th century reenactor

>>> penny@costumegallery.com 07/03/2006 22:25 >>>
Monica,

I haven't heard of dirty Isabella as a color name before.  What source did 
you use to find that name?

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com 
Costume Classroom, www.costumeclassroom.com 
Costume Research Library, www.costumelibrary.com 

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming and other period tack
Date: Wed, 8 Mar 2006 14:26:10 -0500
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To see the correct modern position of a sidesaddle rider and view some 
nice costumes for riding, as well, go to :
  http://www.sidesaddleinfo.com/tip.html

Feel free to look around the site, while you are there.  Any costuming 
comments on attire?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 9:41 AM, Karen R Bergquist wrote:

> I'm not an expert on equestrian costume or riding side-saddle, but I
> think these ladies ARE riding side-saddle. I can see the subtle outline
> of the right leg wrapped around the saddle horn with the left leg 
> hanging
> more or less vertically. As for the skirt spreading, I have seen it 
> done.
> At Bristol, Mary Kababik, who plays Queen Elizabeth, has ridden in the
> main parade on a side-saddle for the last 5 years and with the amount 
> of
> fabric in her skirt it looks almost exactly like that. In this painting
> the ladies aren't riding perpendicular to the horse, they are riding 
> more
> or less parallel wi the horse with their lower body turned slightly to
> the side.
>
> Just my ha'penny's worth,
>
> Karen
> Seamstrix
>
>
>
>
> On Tue, 7 Mar 2006 19:08:23 -0600 "Diane Maynard"
> <camelothorse@earthlink.net> writes:
>> I can tell you that that I believe that BOTH of these paintings are
>> of women
>> riding ASTRIDE.   These are two of my favorite paintings and I have
>> duplicated both of these gowns for myself.  It takes a LOT of
>> material to
>> make the skirts of these gowns.  If one is riding side-saddle, the
>> gown will
>> not "envelope" the hind quarters of the horse the way these gowns
>> do.  I
>> side saddle gown will literally hang to the side of the legs
>> (covering the
>> legs)and not cover the hindquarters of the horse.
>>
>> Diane
>>
>>
>> VELÁZQUEZ, Diego Rodriguez de Silva y
>> Queen Isabel of Bourbon Equestrian
>> 1634-35
>> Oil on canvas, 301 x 314 cm
>> Museo del Prado, Madrid
>> http://www.wga.hu/art/v/velazque/05/0506vela.jpg
>>
>> VELÁZQUEZ, Diego Rodriguez de Silva y
>> Queen Margarita on Horseback
>> 1634-35
>> Oil on canvas, 297 x 309 cm
>> Museo del Prado, Madrid
>> http://www.wga.hu/art/v/velazque/05/0503vela.jpg
>>
>> It's really hard for me to tell whether they're riding astride or
>> sidesaddle, but perhaps someone with more equestrian experience
>> could
>> venture.
>>
>>
>>
>>
>> _______________________________________________
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>>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I browsed on Olgas gallery under Joshua Reynolds portraits. Gosh how 
wonderfull these are. There are so many ladies wearing turkish dress, and i 
wondered was this just a wim for portraits, or did they really dress in 
turkish some times?
I also noticed that Georgiana Duchesse of Devonshire is portraited 2 times, 
the lady who often is quoted in costume books with the worries of tight 
laced corsets.
Lastly i noticed that many of the names portraited, is names mentioned in 
Jane Austens books.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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At 08:29 PM 3/7/2006, you wrote:
>I'm looking for more online galleries like The Web Gallery of Art at 
>wga.hu, sites with a large collection of searchable images and information 
>about those images. Can anyone suggest some new sites to visit? I'm 
>increasingly frustrated with museum sites that list little more than the 
>accession number along with a thumbnail. I really want to be able to see 
>the art in detail and read about the artist or the subject.
>
>
>Dawn


Hi Dawn,

Have you tried Wikimedia Commons?

For example, I've found a number of Renaissance era paintings in large detail
http://commons.wikimedia.org/wiki/Category:Renaissance_paintings

It is kinda hit or miss with background info, it's hard to search for 
anyone specific, and some images are not yet available, but I have 
otherwise managed to find images here that I've not seen elsewhere on the net.

I also recently discovered a couple of prayer books at the Morgan Library, 
and I know there are more images on that site I haven't gotten to yet.
http://www.morganlibrary.org

The ones I was just looking at are:
"Two Masterpieces Illuminated by Jean Poyet contains commentary on 
eighty-three images from the Prayer Book of Anne de Bretagne and the Hours 
of Henry VIII"
http://www.morganlibrary.org/exhibitions/online/html/index_1024.html
Click on the image to the left. The Hours of Henry VIII is similar to the 
Calendar of Simon Bening, with images of people at work.

Kimiko


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Hello All,

The topic of Pirates at Renaissance events has been breached on another 
list, and it has me wondering...

What would pirates or privateers of the English Renaissance looked like?

I know what images of George Clifford, the "privateering" Earl looks like. 
I know what images of Raleigh, and Drake are like, but what would everyday 
privateers, pirates, or even basic seamen look like during the Elizabethan era?

Thanks,



Kimiko Small
http://www.kimiko1.com
Fresno, CA, USA

"Lady of the Wardrobe" for Isle of Mann Guild
Portraying at California's Central Valley Renaissance Faires
Lady Clifford, Countess of Cumberland
  (Margaret Percy, Eleanor Brandon, or Margaret Russell)

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Kimiko Small wrote:


> I know what images of George Clifford, the "privateering" Earl looks 
> like. I know what images of Raleigh, and Drake are like, but what would 
> everyday privateers, pirates, or even basic seamen look like during the 
> Elizabethan era?
> 


The Gentlemen of Fortune site gives the best explanation I've seen on 
the web:

www.gentlemenoffortune.com


Dawn


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At 23:13 08/03/2006, you wrote:
>Hello All,
>
>The topic of Pirates at Renaissance events has been breached on 
>another list, and it has me wondering...
>
>What would pirates or privateers of the English Renaissance looked like?
>
>I know what images of George Clifford, the "privateering" Earl looks 
>like. I know what images of Raleigh, and Drake are like, but what 
>would everyday privateers, pirates, or even basic seamen look like 
>during the Elizabethan era?
>
>Thanks,


I was just looking at "Vecellio's Book of Costumes"(??) and it has 
several seafaring men depicted. I don't imagine pirates would be any 
different. It's a Dover book - I may have the title wrong, but the 
words "Vecellio" and "Costume" are in the title I'm certain.

Suzi

Thanks for the Books of Hours BTW - lovely.


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Thanks, Kate.

Any one have the link to that print, handy, so I can catch up ?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:

> We discussed a 17th century print of a lady in a riding habit not long 
> ago. It was in the 1660s that ladies began to wear habits with the 
> upper half copying masculine attire.
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> pasovasz@aol.com 08/03/2006 16:33:00 >>>
> Thanks, Melusine.
>
>  From what I've learned, so far, riding clothes were not very different
> from regular clothes until rather recently.  Sidesaddles are also a
> recent invention.  I've heard that sidesaddles, as we understand the
> term, did not exist prior to about 1800.  I don't know if that is true.
>
> ______________________________________________________________________
>
>
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Perhaps so, but it begins nearly a hundred years after the close of the 
Elizabethan era.

   Sailors of the Elizabethan period, based on period art wear loose 
venetians or what willlater be called slops.  Some are shown closed at the 
bottom some are not.  The upper body garments tend to be either close 
fitting doublets, or a loose smock sort of jacket referred to in the period 
as a cassock.  The real obvious indicator of a sailor is the cap.  The most 
notable ones being thrummed caps.  Thrummed caps look in art like fur.  They 
are made from strands of woll (thrum) being afixed through the weave of kit 
caps, not unlike the modern watch cap.

   Good art does exist out there.  A number of Dutch maps shows mariner 
figures as does the Mariner's Mirror.  Actually the Dutch version and the 
English version depict some different figures.  I think it is just after the 
period, but there are the woodcuts of the BArents expeditions as well.  Some 
art survivies depicting one of Frobisher's trips as well.  There is also the 
image depicted in Vecellios that was earlier mentioned.

Ron Carnegie


----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 08, 2006 6:18 PM
Subject: Re: [h-cost] what do renaissance seamen look like?


> Kimiko Small wrote:
>
>
>> I know what images of George Clifford, the "privateering" Earl looks 
>> like. I know what images of Raleigh, and Drake are like, but what would 
>> everyday privateers, pirates, or even basic seamen look like during the 
>> Elizabethan era?
>>
>
>
> The Gentlemen of Fortune site gives the best explanation I've seen on the 
> web:
>
> www.gentlemenoffortune.com
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
Date: Wed, 8 Mar 2006 19:57:35 -0700
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Could this be what was called (at least in some 16th c. sources) a
"safeguard?"
--Sue, costuming but not horse, geek...

----- Original Message -----
From: <roscelinlimoges@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 08, 2006 12:22 PM
Subject: Re: [h-cost] Re: Equestrian costuming and other period tack


> With what I have read and seen in paintings during the past few years of
my own research; I've only seen women on horses with that cloth covering.
What a saddle blanket!  Now, I do want to add that not all women riders used
this type of cloth covering.
>
> Roscelin


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Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
Date: Thu, 09 Mar 2006 03:35:45 +0000
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Sue,

  Let me check my papers and my books.  I'll get back to you as soon as I can.

Roscelin

 -------------- Original message ----------------------
From: "Sue Clemenger" <mooncat@in-tch.com>
> Could this be what was called (at least in some 16th c. sources) a
> "safeguard?"
> --Sue, costuming but not horse, geek...
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Subject: [h-cost] costuming Shakespeare
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After reading that hysterically funny list "THE THINGS I WILL NOT DO WHEN I DIRECT A SHAKESPEARE PRODUCTION, ON STAGE OR FILM" when this post came today on an SCA list, I thought it could be added to that list.

Janet
Sent: Wednesday, March 08, 2006 9:42 PM
Subject: RE: Truth is stranger... Was: [SCA-AE] Sterling Renn Faire


Buffalo NY is fortunate enough to have Shakespeare in Park in Delaware Park.
Their schedule is always advertised in advance.  Once, they advertised
Romeo and Juliet, we decided to make it a 'demo night'  We went to the park 
in Italian Ren garb well prior to the starting time, we had samples
of period munchies to give away and our jugglers were juggling with whatever
props they were handed.

Now, unbeknownst to everybody, because it was supposed to be a 'big surprize',
R&J was being done in modern clothes that year.  So, when the actors arrived
and started climbing on stage, the audience members yelled at the 
'misbehaving teenagers' to get off the stage because the play was scheduled
to start soon and the actors were already in garb in the audience!  They
thought *we* were the actors! :D :D

-- Dagonell

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
Date: Wed, 8 Mar 2006 15:18:57 -0500
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Do you think a saddle blanket this long and richly embellished was only 
for Royal Portraits?

  The horse cannot move much with all that fabric around its legs/feet. 
It would most likely walk.  No galloping in this, unless the rider 
wanted to take a chance that the horse's legs would get tangled and 
they horse and rider would fall mightily- ( half a ton of horse moving 
at a fast pace=momentum!)

One reason modern sidesaddle riders "evolved" the skirt to the much 
smaller Safety Apron (with matching breeches underneath it) was because 
women had been dragged to death when all that fabric of petticoats and 
skirts got tangled around the saddle pommels and could not release the 
woman from the galloping / jumping/ bucking horse.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 2:22 PM, roscelinlimoges@comcast.net wrote:

> With what I have read and seen in paintings during the past few years 
> of my own research; I've only seen women on horses with that cloth 
> covering.  What a saddle blanket!  Now, I do want to add that not all 
> women riders used this type of cloth covering.
>
> Roscelin
>
>  -------------- Original message ----------------------
> From: tearoses@aol.com
>> In both of these paintings, there seems to be a piece of cloth 
>> covering the
>> horse to its ankles underneath the ladies' gowns. Was this a standard 
>> part of
>> saddlery, or was it specific to lady riders? (To protect their 
>> skirts, maybe?)
>>
>> Tea Rose, who has ridden horses exactly twice in her life
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
Date: Thu, 09 Mar 2006 04:28:08 +0000
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Sue,

   I can only find my books on war horses.  But nothing on "safeguards".  I know I have heard or seen that term before but not sure where right now.  If I may ask, what are your sources?

Roscelin

 -------------- Original message ----------------------
From: "Sue Clemenger" <mooncat@in-tch.com>
> Could this be what was called (at least in some 16th c. sources) a
> "safeguard?"
> --Sue, costuming but not horse, geek...
> 
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I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year under "hunting" and found the thread. The picture is
http://www.costumes.org/history/leloir/vol10/48_1692.jpg 

Kate Bunting
Librarian and 17th century reenactor

>>> pasovasz@aol.com 08/03/2006 23:20 >>>
Thanks, Kate.

Any one have the link to that print, handy, so I can catch up ?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:

> We discussed a 17th century print of a lady in a riding habit not long 
> ago. It was in the 1660s that ladies began to wear habits with the 
> upper half copying masculine attire.
>
> Kate Bunting
> Librarian and 17th century reenactor
>
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From: "michaela" <thebruce@ihug.co.nz>
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	<000601c6423e$a7e5d220$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] Sorry for this,
	testing but also latest projects if you are bored.
Date: Thu, 9 Mar 2006 22:40:29 +1300
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Kia ora Bjarne, Sorry for the delay a nasty stomache bug made me very ill
for the last 48 hours, I'm back to being able to email again!

> > Latest projects are:
> > http://costumes.glittersweet.com/phantom/wishing.htm

> > http://costumes.glittersweet.com/dracula/2mina.htm

> > http://costumes.glittersweet.com/sca/k/2cleves.htm

> Hi Michaela,
> Thanks for posting the links. I enjoyed it very much. Loved your bustle
> dresses, and how the h.......did you make that picture with changeable
> colours?

Thank you Bjarne, I am looking forward to making thse dresses rather than
just pinning them together on the form:)
The flashing picture for here:
http://costumes.glittersweet.com/sca/k/2cleves.htm
Was made by me taking a portrait and changing the colours in it to make 6
different pictures, then I made them smaller and used a different image
editor to create an "animated gif".
I've since simplified the style somewhat and have some progress images here:
http://pinkdiamond.livejournal.com/tag/koeln
Some of those entries haven't yet made it to my website but they will soon.

As to the first part of my initial email.. this one went through immediately
but an earlier email went through after it. I don't know if this was just at
my end though. Hmmm.. I looked here:
http://www.mail-archive.com/h-costume@mail.indra.com/maillist.html
And the posts are arriving there in the same order as I'm getting them, so
the issue seems to be either the indra server or upstream rather than
downstream.

It's just frustrating replying to a topic and finding your post lost and
then found well after the topic has changed;)

One of those things that are notoriously difficult to figure out and then
dealw ith.. it doesn't happen too often though:)

michaela de bruce
http://glittersweet.com



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To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] what do renaissance seamen look like?
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Well, if you're interested in the middle of the 16th century, we have 
a bit of an idea of what was worn on the Mary Rose, which sank in 
1545.  There were a number of leather jerkins found, as well as some 
wool garment fragments, some wool flat caps, leather shoes... that 
sort of thing.  The info shouldn't be too hard to track down if you 
look up the Mary Rose.

Cheers,
Danielle

At 05:13 PM 3/8/2006, you wrote:
>Hello All,
>
>The topic of Pirates at Renaissance events has been breached on 
>another list, and it has me wondering...
>
>What would pirates or privateers of the English Renaissance looked like?
>
>I know what images of George Clifford, the "privateering" Earl looks 
>like. I know what images of Raleigh, and Drake are like, but what 
>would everyday privateers, pirates, or even basic seamen look like 
>during the Elizabethan era?
>
>Thanks,
>
>Kimiko Small
>http://www.kimiko1.com
>Fresno, CA, USA
>
>"Lady of the Wardrobe" for Isle of Mann Guild
>Portraying at California's Central Valley Renaissance Faires
>Lady Clifford, Countess of Cumberland
>  (Margaret Percy, Eleanor Brandon, or Margaret Russell)

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Hi,
I just got an enquiry from a museum. Because this year it is renaissance 
year, a museum has purchased money to get 2 costumes done. I am asked to do 
them. I would make a dress after a portrait of Queen Sophie (the queen they 
remade the wedding dress for) - as a widow. A black dress, small white ruff 
and a black hood.
Then i should also make a prince outfit for a boy, the chosen prince  who 
died in 1647. This is rather late, and i dont think it has much to do with 
renaissance, but..........
Oh  and i had promised myself from stopping making costumes, and besides, 
the outfits has to be finished in about 3 months. ..............
Ah i really dont know, but would be very tempting

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <s40ff416.029@cluster1-gwise3-server.derby.ac.uk>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 15:49:01 +0100
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I have some portraits with riding costume like this print, 2 to be more 
precise.

Bjarne

----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 10:23 AM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


>I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year under 
>"hunting" and found the thread. The picture is
> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> pasovasz@aol.com 08/03/2006 23:20 >>>
> Thanks, Kate.
>
> Any one have the link to that print, handy, so I can catch up ?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for".  - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:
>
>> We discussed a 17th century print of a lady in a riding habit not long
>> ago. It was in the 1660s that ladies began to wear habits with the
>> upper half copying masculine attire.
>>
>> Kate Bunting
>> Librarian and 17th century reenactor
>>
> ______________________________________________________________________
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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From h-costume-bounces@indra.com  Thu Mar  9 10:14:48 2006
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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Bravo, Bjarne. What a fitting recognition for your wonderful skills and accomplishments!
You sound as if you're very tempted.
These projects sound like something a bit new for you, a chance to stretch...
You COULD tell yourself that garments for exhibition aren't QUITE "costumes"...and so you wouldn't be breaking your promise to yourself not to make any more "costumes"...
Keep us posted about what you decide!
Best wishes,
Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
>From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
>Sent: Mar 9, 2006 8:49 AM
>To: h-costume@indra.com
>Subject: [h-cost] dilemma ahhhhhhhhhhh.
>
>Hi,
>I just got an enquiry from a museum. Because this year it is renaissance 
>year, a museum has purchased money to get 2 costumes done. I am asked to do 
>them. I would make a dress after a portrait of Queen Sophie (the queen they 
>remade the wedding dress for) - as a widow. A black dress, small white ruff 
>and a black hood.
>Then i should also make a prince outfit for a boy, the chosen prince  who 
>died in 1647. This is rather late, and i dont think it has much to do with 
>renaissance, but..........
>Oh  and i had promised myself from stopping making costumes, and besides, 
>the outfits has to be finished in about 3 months. ..............
>Ah i really dont know, but would be very tempting
>
>Bjarne
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/ 
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-bounces@indra.com  Thu Mar  9 10:14:52 2006
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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Oh go for it, Bjarne! You *know* you want to! <grin> What a wonderful
opportunity!  Besides, they don't sound as complicated as some of the
wonderful stuff you've shown us over the years, and, heck, you wouldn't have
to worry about shipping it overseas, or wierd fitting issues, or anything!
--Sue in Montana

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 6:49 AM
Subject: [h-cost] dilemma ahhhhhhhhhhh.


> Hi,
> I just got an enquiry from a museum. Because this year it is renaissance
> year, a museum has purchased money to get 2 costumes done. I am asked to
do
> them. I would make a dress after a portrait of Queen Sophie (the queen
they
> remade the wedding dress for) - as a widow. A black dress, small white
ruff
> and a black hood.
> Then i should also make a prince outfit for a boy, the chosen prince  who
> died in 1647. This is rather late, and i dont think it has much to do with
> renaissance, but..........
> Oh  and i had promised myself from stopping making costumes, and besides,
> the outfits has to be finished in about 3 months. ..............
> Ah i really dont know, but would be very tempting
>
> Bjarne


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>Subject: [h-cost] dilemma ahhhhhhhhhhh.

>Oh  and i had promised myself from stopping making costumes, and besides, 
>the outfits has to be finished in about 3 months. ..............
>Ah i really dont know, but would be very tempting


What a tremendous compliment!! It might be worth doing if they pay well
enough.  Then again, the type of work you do is priceless:)  

Anne

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 09:45:05 -0500
To: Historical Costume <h-costume@indra.com>
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Thanks, Kate.

Since I am new to this group, I must have just missed the January 
discussion of Sidesaddle and clothing.

Does anyone know if the person doing that research for a paper on 
women's equestrian clothing, as mentioned in the archive,  has written 
the paper or is it still in progress?

As far as this picture,    
<<http://www.costumes.org/history/leloir/vol10/48_1692.jpg >>  what 
makes it a riding habit rather than an everyday outfit?  Any hints in 
the photo that I should be seeing but don't?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 9, 2006, at 4:23 AM, Kate M Bunting wrote:

> I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year 
> under "hunting" and found the thread. The picture is
> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> pasovasz@aol.com 08/03/2006 23:20 >>>
> Thanks, Kate.
>
> Any one have the link to that print, handy, so I can catch up ?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for".  - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:
>
>> We discussed a 17th century print of a lady in a riding habit not long
>> ago. It was in the 1660s that ladies began to wear habits with the
>> upper half copying masculine attire.
>>
>> Kate Bunting
>> Librarian and 17th century reenactor
>>
> ______________________________________________________________________
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <28612777.1141916759330.JavaMail.root@mswamui-cedar.atl.sa.earthlink.net>
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 16:34:49 +0100
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It is very tempting.
The style of this gown is late renaissance. With a farthingale a little 
bigger than the original in the spanish book. More like a crinoline style. 
White underskirt is slashed, and overdress has a small "peplum skirt" over 
the top. Ruff is edged with reticella lace and is not close fitted to the 
neck, but hangs down a little in the front, but it is starched. Cuffs are 
reticella lace. What a luck i baught the reproduktion lace from Michelas 
site in England. Could be very handy here. Style is like the van Dyke 
portraits or Rubens. She wears a hood wich is curved in each side of the 
forehead, black edged with lace.
The museum is located in the county where this queen lived as a widdow, so 
this is why they want it.

Bjarne
----- Original Message ----- 
From: <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 4:05 PM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


> Bravo, Bjarne. What a fitting recognition for your wonderful skills and 
> accomplishments!
> You sound as if you're very tempted.
> These projects sound like something a bit new for you, a chance to 
> stretch...
> You COULD tell yourself that garments for exhibition aren't QUITE 
> "costumes"...and so you wouldn't be breaking your promise to yourself not 
> to make any more "costumes"...
> Keep us posted about what you decide!
> Best wishes,
> Ruth Anne Baumgartner
> scholar gypsy and amateur costumer
>
> -----Original Message-----
>>From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
>>Sent: Mar 9, 2006 8:49 AM
>>To: h-costume@indra.com
>>Subject: [h-cost] dilemma ahhhhhhhhhhh.
>>
>>Hi,
>>I just got an enquiry from a museum. Because this year it is renaissance
>>year, a museum has purchased money to get 2 costumes done. I am asked to 
>>do
>>them. I would make a dress after a portrait of Queen Sophie (the queen 
>>they
>>remade the wedding dress for) - as a widow. A black dress, small white 
>>ruff
>>and a black hood.
>>Then i should also make a prince outfit for a boy, the chosen prince  who
>>died in 1647. This is rather late, and i dont think it has much to do with
>>renaissance, but..........
>>Oh  and i had promised myself from stopping making costumes, and besides,
>>the outfits has to be finished in about 3 months. ..............
>>Ah i really dont know, but would be very tempting
>>
>>Bjarne
>>
>>
>>
>>
>>
>>Leif og Bjarne Drews
>>www.my-drewscostumes.dk
>>
>>http://home0.inet.tele.dk/drewscph/
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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Subject: [h-cost] mitts
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Hi,
I am working on making mitts with floral embroidery. I use a pattern from 
Williamsburg. Made a muck up wich fits my hand very nicely, i have small 
hands, so i guess they would fit a woman two. My question is wich stitches 
do you use to make these? And is the lining made seperate and assembled 
later, or do you make the lining same time as the outer layer? The thumb 
must be difficult to assemble and the stitches must be very strong, but wich 
stitches?


Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Well, the caption says it's a hunting costume, and the coat, neckcloth, hairstyle and hat are copies from those worn by men at that time. A few decades earlier Samuel Pepys commented on the new fashion for ladies' riding outfits with the upper garments "for all the world like mine" but with a long skirt underneath.

Kate Bunting
Librarian and 17th century reenactor

>>> pasovasz@aol.com 09/03/2006 14:45 >>>
As far as this picture,    
<<http://www.costumes.org/history/leloir/vol10/48_1692.jpg >>  what 
makes it a riding habit rather than an everyday outfit?  Any hints in 
the photo that I should be seeing but don't?

______________________________________________________________________


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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <000501c64380$3f3fab90$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 09:43:20 -0600
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Three months?  Oww.  Is this the portrait of Queen Sophie you'd be doing?
http://www.rosenborgslot.dk/images/pics/a07375wl.jpg (different cap color, 
but I couldn't find anything else in a quick search)
Do you know what the whole dress would look like already?  The wedding dress 
is over 30 years earlier, so it probably wouldn't help... you might have to 
put in some research time, which would make the 3 months time limit harder.
Is this the prince?
http://www.rosenborgslot.dk/images/pics/a03034wl.jpg

I have no doubt you could do it if you set your mind to it, Bjarne, but it 
sounds like a bit of a headache to me!  Would they consider allowing more 
time for it and is the money enough to be tempting?

-E House

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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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In a message dated 3/9/2006 10:15:32 A.M. Eastern Standard Time,  
ladyanne@quik.com writes:

What a  tremendous compliment!! It might be worth doing if they pay  well
enough.  Then again, the type of work you do is priceless:)   



Exactly!
 
Demand they pay for a competent assistant!
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In a message dated 3/9/2006 10:35:36 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

The  style of this gown is late renaissance. 
She wears a hood wich is curved in each side of the 
forehead, black  edged with lace.

********************
 
A "widow's peak". 
 

And the Prince's outfit sounds like it might be fun too. I'm sure they  
dressed him like a little adult, no?
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 16:49:18 +0100
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A hunting suit like this would have ben worn on special occations like 
hunting with the king and queen. Masculine fashion like this was only used 
for hunting. The tricorne, her Steinkirke cravate, the jacket with the big 
cuffs, the way the buttonholes are worked and all the buttons. At this time 
when this print was made, women didnt wear tricornes for daily wear, but 
they wore Fontanges wich are caps with high extended starched laces round 
the forehead. Also her wig is masculin, a fully bottomed wig with lots of 
curls, was only worn with this kind of outfit. The only hair shown for 
ladies this time, was small curls on the forehead just below the fontange. 
In the back, the hair was hided in a cape.
The daily wear uniform for women was the mantua, wich was an open robe with 
a matching petticoat. Mantua was mostly draped at each hip (lifted up with 
loops and buttons) Sleaves did have cufs, but these usually was attached by 
the elbows, where the shift showed.
I have seen portraits from this period where women wears a more relaxed 
style of dress, with t-shaped bodices and loose skirts, wich could be daily 
wear.

Bjarne
----- Original Message ----- 
From: "Susan Data-Samtak" <pasovasz@aol.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 3:45 PM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


Thanks, Kate.

Since I am new to this group, I must have just missed the January
discussion of Sidesaddle and clothing.

Does anyone know if the person doing that research for a paper on
women's equestrian clothing, as mentioned in the archive,  has written
the paper or is it still in progress?

As far as this picture,
<<http://www.costumes.org/history/leloir/vol10/48_1692.jpg >>  what
makes it a riding habit rather than an everyday outfit?  Any hints in
the photo that I should be seeing but don't?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for". - "Ride the Dark
Trail" by Louis L'Amour

On Mar 9, 2006, at 4:23 AM, Kate M Bunting wrote:

> I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year 
> under "hunting" and found the thread. The picture is
> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> pasovasz@aol.com 08/03/2006 23:20 >>>
> Thanks, Kate.
>
> Any one have the link to that print, handy, so I can catch up ?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for".  - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:
>
>> We discussed a 17th century print of a lady in a riding habit not long
>> ago. It was in the 1660s that ladies began to wear habits with the
>> upper half copying masculine attire.
>>
>> Kate Bunting
>> Librarian and 17th century reenactor
>>
> ______________________________________________________________________
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: [h-cost] Ruff - was Bjarne's dilemma
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At 15:43 09/03/2006, you wrote:
>Three months?  Oww.  Is this the portrait of Queen Sophie you'd be doing?
>http://www.rosenborgslot.dk/images/pics/a07375wl.jpg (different cap 
>color, but I couldn't find anything else in a quick search)
>Do you know what the whole dress would look like already?  The 
>wedding dress is over 30 years earlier, so it probably wouldn't 
>help... you might have to put in some research time, which would 
>make the 3 months time limit harder.


What a complicated ruff! I've never seen anything like that. I am 
trying really hard to work it out. Am I mad to think it might be two 
layers of fabric, instead of one - one to make the standard ruff and 
one to make the doubles inside?

>Is this the prince?
>http://www.rosenborgslot.dk/images/pics/a03034wl.jpg
>
>I have no doubt you could do it if you set your mind to it, Bjarne, 
>but it sounds like a bit of a headache to me!  Would they consider 
>allowing more time for it and is the money enough to be tempting?
>
>-E House
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>


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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

http://www.rosenborgslot.dk/images/pics/a07375wl.jpg 


What a bizzare ruff! A ruff inside a ruff!
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 10:57:49 -0500
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It's not as complicated as it looks. Make a ruff with 2 layers. Form a main 
ruff that has all layers. When that is properly spaced. bring the inside 
ruff down into points inside the loops of the outter fabric. It's like 
origami. I can visualize it but may not explain it well.
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 10:52 AM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


>
> In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time,
> formfunc@formfunction.org writes:
>
> http://www.rosenborgslot.dk/images/pics/a07375wl.jpg
>
>
> What a bizzare ruff! A ruff inside a ruff!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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	<6.2.3.4.0.20060309154758.01ddd970@127.0.0.1>
Subject: Re: [h-cost] Ruff - was Bjarne's dilemma
Date: Thu, 9 Mar 2006 17:06:08 +0100
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I have a photo i took at the museum some time ago, i could post it if you 
want, but it is a portrait wich hangs very high up, so the angle of the 
photo is not good, but it gives you an idea.
The princes outfit is like a small adult with hat and feathers. Its red and 
slashed.
Anyway just posted the pic for you to see.
http://www.my-drewscostumes.dk/sophie.htm

Bjarne
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 4:49 PM
Subject: [h-cost] Ruff - was Bjarne's dilemma


> At 15:43 09/03/2006, you wrote:
>>Three months?  Oww.  Is this the portrait of Queen Sophie you'd be doing?
>>http://www.rosenborgslot.dk/images/pics/a07375wl.jpg (different cap color, 
>>but I couldn't find anything else in a quick search)
>>Do you know what the whole dress would look like already?  The wedding 
>>dress is over 30 years earlier, so it probably wouldn't help... you might 
>>have to put in some research time, which would make the 3 months time 
>>limit harder.
>
>
> What a complicated ruff! I've never seen anything like that. I am trying 
> really hard to work it out. Am I mad to think it might be two layers of 
> fabric, instead of one - one to make the standard ruff and one to make the 
> doubles inside?
>
>>Is this the prince?
>>http://www.rosenborgslot.dk/images/pics/a03034wl.jpg
>>
>>I have no doubt you could do it if you set your mind to it, Bjarne, but it 
>>sounds like a bit of a headache to me!  Would they consider allowing more 
>>time for it and is the money enough to be tempting?
>>
>>-E House
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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The temptation to make a rude pun is almost overwhelming...but I'll resist 
<G>

They would wear what everyone else would wear.  There was no particular 
"uniform" of a pirate.  I looked into this when my huibby was giving me 
grief about dressing up.  What we think of as "pirates" is out of 
period...the great coat, the striped clothes, etc.  Darn.  My hubby as 
Captain Jack...hmmm......  Hubby said he'd wear a great coat & tall boots. 
Tunics are dresses...
Julie 


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In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

_http://www.rosenborgslot.dk/images/pics/a03034wl.jpg_ 
(http://www.rosenborgslot.dk/images/pics/a03034wl.jpg) 





I imagined the prince as a boy....like an adolescent. Oh  well.....
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Date: Thu, 9 Mar 2006 10:07:12 -0600 (CST)
Subject: Re: [h-cost] mitts
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Are you overlapping the seams or are you sewing the right sides
together and then turning them over?

I have a one sheet example of stitches used through the periods for
gloves that I can share with you. It is from observational research
as I am not able to go to the various overseas museums that have the
gloves.

One local university recently obtained some gloves that they want me
to come over the catalog for them. I am hoping some are from the
Elizabethan era. :)

Chiara


On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
> Hi,
> I am working on making mitts with floral embroidery. I use a pattern
> from
> Williamsburg. Made a muck up wich fits my hand very nicely, i have
> small
> hands, so i guess they would fit a woman two. My question is wich
> stitches
> do you use to make these? And is the lining made seperate and
> assembled
> later, or do you make the lining same time as the outer layer? The
> thumb
> must be difficult to assemble and the stitches must be very strong,
> but wich
> stitches?
>
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


Franchesca Havas
----------------------------------------

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Subject: Re: [h-cost] mitts
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Thanks Chiara,
I think i would like to sew the right sides together and turn, but i really 
would like to know more, if you have any informations about the stitches i 
would be very happy :-)
I am thinking about you cant sew on the thumbs and then turn, how do you 
attach these last, and wich stitches do you do for this?
Rubbish, off cause i can sew on the tumbs and turn, i am a little confused 
right now, its the museum dress in my head!
No problems then, but do you think backstitching would be ok to use?

Bjarne
----- Original Message ----- 
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 5:07 PM
Subject: Re: [h-cost] mitts


> Are you overlapping the seams or are you sewing the right sides
> together and then turning them over?
>
> I have a one sheet example of stitches used through the periods for
> gloves that I can share with you. It is from observational research
> as I am not able to go to the various overseas museums that have the
> gloves.
>
> One local university recently obtained some gloves that they want me
> to come over the catalog for them. I am hoping some are from the
> Elizabethan era. :)
>
> Chiara
>
>
> On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
>> Hi,
>> I am working on making mitts with floral embroidery. I use a pattern
>> from
>> Williamsburg. Made a muck up wich fits my hand very nicely, i have
>> small
>> hands, so i guess they would fit a woman two. My question is wich
>> stitches
>> do you use to make these? And is the lining made seperate and
>> assembled
>> later, or do you make the lining same time as the outer layer? The
>> thumb
>> must be difficult to assemble and the stitches must be very strong,
>> but wich
>> stitches?
>>
>>
>> Bjarne
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> Franchesca Havas
> ----------------------------------------
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 11:04:48 -0500
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Thank you so much, Bjarne.

Such a wealth of knowledge in this group.  Thanks to all for sharing.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 9, 2006, at 10:49 AM, Bjarne og Leif Drews wrote:

> A hunting suit like this would have ben worn on special occations like 
> hunting with the king and queen. Masculine fashion like this was only 
> used for hunting. The tricorne, her Steinkirke cravate, the jacket 
> with the big cuffs, the way the buttonholes are worked and all the 
> buttons. At this time when this print was made, women didnt wear 
> tricornes for daily wear, but they wore Fontanges wich are caps with 
> high extended starched laces round the forehead. Also her wig is 
> masculin, a fully bottomed wig with lots of curls, was only worn with 
> this kind of outfit. The only hair shown for ladies this time, was 
> small curls on the forehead just below the fontange. In the back, the 
> hair was hided in a cape.
> The daily wear uniform for women was the mantua, wich was an open robe 
> with a matching petticoat. Mantua was mostly draped at each hip 
> (lifted up with loops and buttons) Sleaves did have cufs, but these 
> usually was attached by the elbows, where the shift showed.
> I have seen portraits from this period where women wears a more 
> relaxed style of dress, with t-shaped bodices and loose skirts, wich 
> could be daily wear.
>
> Bjarne
> ----- Original Message ----- From: "Susan Data-Samtak" 
> <pasovasz@aol.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, March 09, 2006 3:45 PM
> Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>
> Thanks, Kate.
>
> Since I am new to this group, I must have just missed the January
> discussion of Sidesaddle and clothing.
>
> Does anyone know if the person doing that research for a paper on
> women's equestrian clothing, as mentioned in the archive,  has written
> the paper or is it still in progress?
>
> As far as this picture,
> <<http://www.costumes.org/history/leloir/vol10/48_1692.jpg >>  what
> makes it a riding habit rather than an everyday outfit?  Any hints in
> the photo that I should be seeing but don't?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for". - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 9, 2006, at 4:23 AM, Kate M Bunting wrote:
>
>> I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year 
>> under "hunting" and found the thread. The picture is
>> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>>
>> Kate Bunting
>> Librarian and 17th century reenactor
>>
>>>>> pasovasz@aol.com 08/03/2006 23:20 >>>
>> Thanks, Kate.
>>
>> Any one have the link to that print, handy, so I can catch up ?
>>
>> Susan
>>
>> "Slow down. The trail is the thing, not the end of the trail. Travel
>> too fast and you miss all you are traveling for".  - "Ride the Dark
>> Trail" by Louis L'Amour
>>
>> On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:
>>
>>> We discussed a 17th century print of a lady in a riding habit not 
>>> long
>>> ago. It was in the 1660s that ladies began to wear habits with the
>>> upper half copying masculine attire.
>>>
>>> Kate Bunting
>>> Librarian and 17th century reenactor
>>>
>> ______________________________________________________________________
>>
>>
>> _______________________________________________
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>> h-costume@mail.indra.com
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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----- Original Message -----
From: <AlbertCat@aol.com>

>
> What a bizzare ruff! A ruff inside a ruff!

Yes, I've been staring at it and I can't see how it would be possible.  The
geometry is all off.  I suspect this is artistic liscense, not a real
garment.

Margo

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 17:20:50 +0100
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No worries Albertcat, its not the prince, but the queen you see in the 
portrait from Rosenborg. I dont have a picture of the prince to share right 
now, but i know the portrait, its a boy dressed in a red doublet with 
trunkhoses. All the costume is slashed and the hat wich i dont know how i 
would make is a tall hat naturally leather colour with red feathers.

Bjarne

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 4:53 PM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


>
> In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time,
> formfunc@formfunction.org writes:
>
> _http://www.rosenborgslot.dk/images/pics/a03034wl.jpg_
> (http://www.rosenborgslot.dk/images/pics/a03034wl.jpg)
>
>
>
>
>
> I imagined the prince as a boy....like an adolescent. Oh  well.....
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Five Rivers Chapmanry" <lgsteph@wightman.ca>
To: <h-costume@indra.com>
Date: Thu, 9 Mar 2006 11:29:41 -0500
Organization: Five Rivers
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Subject: [h-cost] New pattern
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            Thought some of you who re-enact Victorian and Dickens eras
would be interested in the new pattern from Laughing Moon (I'm just waiting
for my new stock to arrive). It's the Hoops and Bustles package, LM112.
Looks like another fabulous addition to this premiere line of patterns. For
details you can visit http://www.5rivers.org/en-gb/p_1058.html which will
take you to that specific pattern.

 

            There's also been a wonderful addition to the Laughing Moon
Men's Frock Coat pattern, in that in now includes a single-breasted, as well
as the double-breasted frock coat, with the original two vests that were
included in the pattern. Again, I'm just waiting for my new stock to arrive.
You can view that pattern at: http://www.5rivers.org/en-gb/p_776.html 

 

Regards,

Lorina

Five Rivers Chapmanry

purveyors of historical sewing patterns, quality hand-crafted cooperage,
re-enactor and embroidery supplies, and more.

519-799-5577 info@5rivers.org - www.5rivers.org

 

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Date: Thu, 9 Mar 2006 10:28:30 -0600 (CST)
Subject: Re: [h-cost] mitts
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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So long as you are not using a glover's needle backstitcing is fine.
The glovers needle has that three sided cutting edge to it for
leather and will cut the thread.

For the thumb, you want to put that in first. You can do an overlap
seam for that if you wish. That is, place the thumb piece inside the
trank of the mitt and sew on the first layer down into the second
layer that is the thumb.

Are these fabric or leather?

Any chance you can send us a thumbnail of what the finished product
should look like? Or a museum link of a pair of mitts these were
based on?

Chiara


On Thu, March 9, 2006 10:15 am, Bjarne og Leif Drews said:
> Thanks Chiara,
> I think i would like to sew the right sides together and turn, but i
> really
> would like to know more, if you have any informations about the
> stitches i
> would be very happy :-)
> I am thinking about you cant sew on the thumbs and then turn, how do
> you
> attach these last, and wich stitches do you do for this?
> Rubbish, off cause i can sew on the tumbs and turn, i am a little
> confused
> right now, its the museum dress in my head!
> No problems then, but do you think backstitching would be ok to use?
>
> Bjarne
> ----- Original Message -----
> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, March 09, 2006 5:07 PM
> Subject: Re: [h-cost] mitts
>
>
>> Are you overlapping the seams or are you sewing the right sides
>> together and then turning them over?
>>
>> I have a one sheet example of stitches used through the periods
>> for
>> gloves that I can share with you. It is from observational
>> research
>> as I am not able to go to the various overseas museums that have
>> the
>> gloves.
>>
>> One local university recently obtained some gloves that they want
>> me
>> to come over the catalog for them. I am hoping some are from the
>> Elizabethan era. :)
>>
>> Chiara
>>
>>
>> On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
>>> Hi,
>>> I am working on making mitts with floral embroidery. I use a
>>> pattern
>>> from
>>> Williamsburg. Made a muck up wich fits my hand very nicely, i
>>> have
>>> small
>>> hands, so i guess they would fit a woman two. My question is wich
>>> stitches
>>> do you use to make these? And is the lining made seperate and
>>> assembled
>>> later, or do you make the lining same time as the outer layer?
>>> The
>>> thumb
>>> must be difficult to assemble and the stitches must be very
>>> strong,
>>> but wich
>>> stitches?
>>>
>>>
>>> Bjarne
>>>
>>>
>>>
>>>
>>>
>>> Leif og Bjarne Drews
>>> www.my-drewscostumes.dk
>>>
>>> http://home0.inet.tele.dk/drewscph/
>>>
>>>
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>
>>
>> Franchesca Havas
>> ----------------------------------------
>>
>> _______________________________________________
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>>
>
>
> _______________________________________________
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Franchesca Havas
----------------------------------------

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Subject: [h-cost] RE: what do renaissance seamen look like?
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From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
>Well, if you're interested in the middle of the 16th century, we have
>a bit of an idea of what was worn on the Mary Rose, which sank in
>1545.  There were a number of leather jerkins found, as well as some
>wool garment fragments, some wool flat caps, leather shoes... that
>sort of thing.  The info shouldn't be too hard to track down if you
>look up the Mary Rose.

There are also the excavations from Red Bay, Labrador and the wreck of the 
San Juan (1565).  Although I haven't found documentation on more than the 
shoes, I'm told that the graves of the Basque seamen had clothes that were 
excavated.

BTW, it is most likely (speaking of shoes) that common seamen were wearing 
turnshoes like: 
http://www.personal.utulsa.edu/~marc-carlson/shoe/SHOES/redbay5.html.  
Non-turned shoes, when found, being more expensive possibly denote officers.

Marc


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] mitts
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Dear Dhiara,
Many thanks for your help.
I want to make them in ivory silk taffeta. You can see the design i made 
here, with colours of embroiderysilks:
http://www.my-drewscostumes.dk/purse.htm
Scroll down to the buttom.
I want to make the outer layer in silk taffeta, and a shite silk satin wich 
is thinner and softer for the lining.

Bjarne
----- Original Message ----- 
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 5:28 PM
Subject: Re: [h-cost] mitts


> So long as you are not using a glover's needle backstitcing is fine.
> The glovers needle has that three sided cutting edge to it for
> leather and will cut the thread.
>
> For the thumb, you want to put that in first. You can do an overlap
> seam for that if you wish. That is, place the thumb piece inside the
> trank of the mitt and sew on the first layer down into the second
> layer that is the thumb.
>
> Are these fabric or leather?
>
> Any chance you can send us a thumbnail of what the finished product
> should look like? Or a museum link of a pair of mitts these were
> based on?
>
> Chiara
>
>
> On Thu, March 9, 2006 10:15 am, Bjarne og Leif Drews said:
>> Thanks Chiara,
>> I think i would like to sew the right sides together and turn, but i
>> really
>> would like to know more, if you have any informations about the
>> stitches i
>> would be very happy :-)
>> I am thinking about you cant sew on the thumbs and then turn, how do
>> you
>> attach these last, and wich stitches do you do for this?
>> Rubbish, off cause i can sew on the tumbs and turn, i am a little
>> confused
>> right now, its the museum dress in my head!
>> No problems then, but do you think backstitching would be ok to use?
>>
>> Bjarne
>> ----- Original Message -----
>> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
>> To: "Historical Costume" <h-costume@indra.com>
>> Sent: Thursday, March 09, 2006 5:07 PM
>> Subject: Re: [h-cost] mitts
>>
>>
>>> Are you overlapping the seams or are you sewing the right sides
>>> together and then turning them over?
>>>
>>> I have a one sheet example of stitches used through the periods
>>> for
>>> gloves that I can share with you. It is from observational
>>> research
>>> as I am not able to go to the various overseas museums that have
>>> the
>>> gloves.
>>>
>>> One local university recently obtained some gloves that they want
>>> me
>>> to come over the catalog for them. I am hoping some are from the
>>> Elizabethan era. :)
>>>
>>> Chiara
>>>
>>>
>>> On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
>>>> Hi,
>>>> I am working on making mitts with floral embroidery. I use a
>>>> pattern
>>>> from
>>>> Williamsburg. Made a muck up wich fits my hand very nicely, i
>>>> have
>>>> small
>>>> hands, so i guess they would fit a woman two. My question is wich
>>>> stitches
>>>> do you use to make these? And is the lining made seperate and
>>>> assembled
>>>> later, or do you make the lining same time as the outer layer?
>>>> The
>>>> thumb
>>>> must be difficult to assemble and the stitches must be very
>>>> strong,
>>>> but wich
>>>> stitches?
>>>>
>>>>
>>>> Bjarne
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Leif og Bjarne Drews
>>>> www.my-drewscostumes.dk
>>>>
>>>> http://home0.inet.tele.dk/drewscph/
>>>>
>>>>
>>>> _______________________________________________
>>>> h-costume mailing list
>>>> h-costume@mail.indra.com
>>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>>
>>>
>>>
>>> Franchesca Havas
>>> ----------------------------------------
>>>
>>> _______________________________________________
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>>
>>
>> _______________________________________________
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>
>
> Franchesca Havas
> ----------------------------------------
>
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Subject: Re: [h-cost] New pattern
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Somehow I find the hoops and bustles a bit weird looking.
I am not sure what it is.


Five Rivers Chapmanry wrote:

>            Thought some of you who re-enact Victorian and Dickens eras
>would be interested in the new pattern from Laughing Moon (I'm just waiting
>for my new stock to arrive). It's the Hoops and Bustles package, LM112.
>Looks like another fabulous addition to this premiere line of patterns. For
>details you can visit http://www.5rivers.org/en-gb/p_1058.html which will
>take you to that specific pattern.
>
> 
>
>            There's also been a wonderful addition to the Laughing Moon
>Men's Frock Coat pattern, in that in now includes a single-breasted, as well
>as the double-breasted frock coat, with the original two vests that were
>included in the pattern. Again, I'm just waiting for my new stock to arrive.
>You can view that pattern at: http://www.5rivers.org/en-gb/p_776.html 
>
> 
>
>Regards,
>
>Lorina
>
>Five Rivers Chapmanry
>
>purveyors of historical sewing patterns, quality hand-crafted cooperage,
>re-enactor and embroidery supplies, and more.
>
>519-799-5577 info@5rivers.org - www.5rivers.org
>
> 
>
>_______________________________________________
>h-costume mailing list
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>
>  
>

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Date: Thu, 9 Mar 2006 11:34:15 -0600 (CST)
Subject: Re: [h-cost] mitts
From: "Franchesca" <ches@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Beautiful as always Bjarne!

The lining is attached at the finger tips for gloves. The same would
apply here. Attach at the top of the mitt and at the top of the
thumb. Then attach it at the cuff. Leave the side seams unattached.

Make sure you allow the fabric for the mitt and the lining to hang
so that it stretches out first. You do not want something this
delicate to have a lininig no longer fit because one or the other
stretched out over time.

Definitely right sides together on the thumb. :)

Chiara


On Thu, March 9, 2006 11:11 am, Bjarne og Leif Drews said:
> Dear Dhiara,
> Many thanks for your help.
> I want to make them in ivory silk taffeta. You can see the design i
> made
> here, with colours of embroiderysilks:
> http://www.my-drewscostumes.dk/purse.htm
> Scroll down to the buttom.
> I want to make the outer layer in silk taffeta, and a shite silk
> satin wich
> is thinner and softer for the lining.
>
> Bjarne
> ----- Original Message -----
> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, March 09, 2006 5:28 PM
> Subject: Re: [h-cost] mitts
>
>
>> So long as you are not using a glover's needle backstitcing is
>> fine.
>> The glovers needle has that three sided cutting edge to it for
>> leather and will cut the thread.
>>
>> For the thumb, you want to put that in first. You can do an
>> overlap
>> seam for that if you wish. That is, place the thumb piece inside
>> the
>> trank of the mitt and sew on the first layer down into the second
>> layer that is the thumb.
>>
>> Are these fabric or leather?
>>
>> Any chance you can send us a thumbnail of what the finished
>> product
>> should look like? Or a museum link of a pair of mitts these were
>> based on?
>>
>> Chiara
>>
>>
>> On Thu, March 9, 2006 10:15 am, Bjarne og Leif Drews said:
>>> Thanks Chiara,
>>> I think i would like to sew the right sides together and turn,
>>> but i
>>> really
>>> would like to know more, if you have any informations about the
>>> stitches i
>>> would be very happy :-)
>>> I am thinking about you cant sew on the thumbs and then turn, how
>>> do
>>> you
>>> attach these last, and wich stitches do you do for this?
>>> Rubbish, off cause i can sew on the tumbs and turn, i am a little
>>> confused
>>> right now, its the museum dress in my head!
>>> No problems then, but do you think backstitching would be ok to
>>> use?
>>>
>>> Bjarne
>>> ----- Original Message -----
>>> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
>>> To: "Historical Costume" <h-costume@indra.com>
>>> Sent: Thursday, March 09, 2006 5:07 PM
>>> Subject: Re: [h-cost] mitts
>>>
>>>
>>>> Are you overlapping the seams or are you sewing the right sides
>>>> together and then turning them over?
>>>>
>>>> I have a one sheet example of stitches used through the periods
>>>> for
>>>> gloves that I can share with you. It is from observational
>>>> research
>>>> as I am not able to go to the various overseas museums that have
>>>> the
>>>> gloves.
>>>>
>>>> One local university recently obtained some gloves that they
>>>> want
>>>> me
>>>> to come over the catalog for them. I am hoping some are from the
>>>> Elizabethan era. :)
>>>>
>>>> Chiara
>>>>
>>>>
>>>> On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
>>>>> Hi,
>>>>> I am working on making mitts with floral embroidery. I use a
>>>>> pattern
>>>>> from
>>>>> Williamsburg. Made a muck up wich fits my hand very nicely, i
>>>>> have
>>>>> small
>>>>> hands, so i guess they would fit a woman two. My question is
>>>>> wich
>>>>> stitches
>>>>> do you use to make these? And is the lining made seperate and
>>>>> assembled
>>>>> later, or do you make the lining same time as the outer layer?
>>>>> The
>>>>> thumb
>>>>> must be difficult to assemble and the stitches must be very
>>>>> strong,
>>>>> but wich
>>>>> stitches?
>>>>>
>>>>>
>>>>> Bjarne
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> Leif og Bjarne Drews
>>>>> www.my-drewscostumes.dk
>>>>>
>>>>> http://home0.inet.tele.dk/drewscph/
>>>>>
>>>>>
>>>>> _______________________________________________
>>>>> h-costume mailing list
>>>>> h-costume@mail.indra.com
>>>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>>>
>>>>
>>>>
>>>> Franchesca Havas
>>>> ----------------------------------------
>>>>
>>>> _______________________________________________
>>>> h-costume mailing list
>>>> h-costume@mail.indra.com
>>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>>
>>>
>>>
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>
>>
>> Franchesca Havas
>> ----------------------------------------
>>
>> _______________________________________________
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>
>
> _______________________________________________
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Franchesca Havas
----------------------------------------

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Bjarne og Leif Drews wrote:

> A hunting suit like this would have ben worn on special occations like 
> hunting with the king and queen. Masculine fashion like this was only 
> used for hunting. The tricorne, her Steinkirke cravate, the jacket with 
> the big cuffs, the way the buttonholes are worked and all the buttons. 


>> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>>

Does anyone know what portrait this drawing is based on? From what I can 
determine, Leloir's costume books came out in the mid 1800's. I'd like 
to see some of his sources, including the ones for this image:


http://www.costumes.org/history/leloir/vol10/47_1693-98.jpg


Dawn



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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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At 18:14 09/03/2006, you wrote:
>Bjarne og Leif Drews wrote:
>
>>A hunting suit like this would have ben worn on special occations 
>>like hunting with the king and queen. Masculine fashion like this 
>>was only used for hunting. The tricorne, her Steinkirke cravate, 
>>the jacket with the big cuffs, the way the buttonholes are worked 
>>and all the buttons.
>
>
>>>http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
>Does anyone know what portrait this drawing is based on? From what I 
>can determine, Leloir's costume books came out in the mid 1800's. 
>I'd like to see some of his sources, including the ones for this image:
>
>
>http://www.costumes.org/history/leloir/vol10/47_1693-98.jpg


This is one of the series I am talking about, and it is by Bonnart!

http://www.allposters.com/-sp/The-Summer-city-dress-1678_i1344960_.htm?aid=974174

Suzi




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At 18:14 09/03/2006, you wrote:
>Bjarne og Leif Drews wrote:
>
>>A hunting suit like this would have ben worn on special occations 
>>like hunting with the king and queen. Masculine fashion like this 
>>was only used for hunting. The tricorne, her Steinkirke cravate, 
>>the jacket with the big cuffs, the way the buttonholes are worked 
>>and all the buttons.
>
>
>>>http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
>Does anyone know what portrait this drawing is based on? From what I 
>can determine, Leloir's costume books came out in the mid 1800's. 
>I'd like to see some of his sources, including the ones for this image:
>
>
>http://www.costumes.org/history/leloir/vol10/47_1693-98.jpg
>
>
>Dawn



I suspect these are redrawn from a series of fashion plates which 
were published in France in the late 17th century. I have copies of 
others in a similar style. The artist Bonnart springs to mind, but I 
don't guarantee anything, as I am currently having a "hot  flush" 
(English version) and am as a consequence in the "brainsaremush" state.

Suzi 


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These hoops and bustles are wonderful, Lorena!  I have the first one and the
last as antiques and you have made them up just as they should be. The last
one differs only from mine in that the train part button of mine buttons
onto the hem of the main hoop shape.  Bravo

Kathleen
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 12:00 PM
Subject: Re: [h-cost] New pattern


> Somehow I find the hoops and bustles a bit weird looking.
> I am not sure what it is.
>
>
> Five Rivers Chapmanry wrote:
>
> >            Thought some of you who re-enact Victorian and Dickens eras
> >would be interested in the new pattern from Laughing Moon (I'm just
waiting
> >for my new stock to arrive). It's the Hoops and Bustles package, LM112.
> >Looks like another fabulous addition to this premiere line of patterns.
For
> >details you can visit http://www.5rivers.org/en-gb/p_1058.html which will
> >take you to that specific pattern.
> >
> >
> >
> >            There's also been a wonderful addition to the Laughing Moon
> >Men's Frock Coat pattern, in that in now includes a single-breasted, as
well
> >as the double-breasted frock coat, with the original two vests that were
> >included in the pattern. Again, I'm just waiting for my new stock to
arrive.
> >You can view that pattern at: http://www.5rivers.org/en-gb/p_776.html
> >
> >
> >
> >Regards,
> >
> >Lorina
> >
> >Five Rivers Chapmanry
> >
> >purveyors of historical sewing patterns, quality hand-crafted cooperage,
> >re-enactor and embroidery supplies, and more.
> >
> >519-799-5577 info@5rivers.org - www.5rivers.org
> >
> >
> >
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <s40ff416.029@cluster1-gwise3-server.derby.ac.uk>	<f4641068c57ff9fafca73be8dc84cfc9@aol.com><001201c64391$06a603e0$7c83fea9@CPQ21932199711>
	<4410709A.4050701@reddawn.net>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 21:25:01 +0100
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Dear Dawn,
I dont think i have ever seen the portraits made after these prints. But it 
could be, that they are real fashion prints. There was a series in the 
1680ies called Mercure Gallante, wich showed handcoloured fashion prints. I 
have photographed all they have at the museum of fine arts in Copenhagen, 
but it is only about 35 prints, not the entire range.
In one of my costume books wich is in danish, dont know the english title, 
it is written by an italian lady called Mila Contini, there is a portrait 
very like the same style, of Marie Adelaide de Savoye, duchesse of Burgundy. 
Its painted in the last part of 17th century, red with gold laces. Her large 
cufs are entirely covered with gold laces  and her waistcoat is entirely 
gold two.
Another portrait from Ribeiros Dress in 18th century Europe, page 47 shows 
Frances Pierrepoint, Countess of Mar, ca. 1715. Her hunting suit is made of 
a very pale rose colloured outfit, and her trimmings are made of silver 
bobbin laces. She also has the masculine wig on.+ tricorne under her right 
arm.

Bjarne

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 7:14 PM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


> Bjarne og Leif Drews wrote:
>
>> A hunting suit like this would have ben worn on special occations like 
>> hunting with the king and queen. Masculine fashion like this was only 
>> used for hunting. The tricorne, her Steinkirke cravate, the jacket with 
>> the big cuffs, the way the buttonholes are worked and all the buttons.
>
>
>>> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>>>
>
> Does anyone know what portrait this drawing is based on? From what I can 
> determine, Leloir's costume books came out in the mid 1800's. I'd like to 
> see some of his sources, including the ones for this image:
>
>
> http://www.costumes.org/history/leloir/vol10/47_1693-98.jpg
>
>
> Dawn
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Thu Mar  9 17:33:16 2006
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh. 
To: h-costume@indra.com
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There's only really one question to answer - do you really want to do the 
outfits?

If you do then go for it, because you'll only regret it afterwards if you 
don't.

And the worst thing would be to end up thinking 'what if I had...'.

Well that's what I always tell myself when I take orders for things at short 
notice, anyway  

:-D

Debbie
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Subject: RE: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 15:05:00 -0800
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Are you looking for patterns?
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Thursday, March 09, 2006 8:21 AM
To: Historical Costume
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


No worries Albertcat, its not the prince, but the queen you see in the 
portrait from Rosenborg. I dont have a picture of the prince to share right 
now, but i know the portrait, its a boy dressed in a red doublet with 
trunkhoses. All the costume is slashed and the hat wich i dont know how i 
would make is a tall hat naturally leather colour with red feathers.

Bjarne

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 4:53 PM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


>
> In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time, 
> formfunc@formfunction.org writes:
>
> _http://www.rosenborgslot.dk/images/pics/a03034wl.jpg_
> (http://www.rosenborgslot.dk/images/pics/a03034wl.jpg)
>
>
>
>
>
> I imagined the prince as a boy....like an adolescent. Oh  well..... 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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> A hunting suit like this would have ben worn on special occations like
> hunting with the king and queen. Masculine fashion like this was only used
> for hunting.

I was wondering what your thoughts on this costume were:
http://ec1.images-amazon.com/images/P/B00004YWXG.01._SCLZZZZZZZ_.jpg

It's the cover of the cd Pavaniglia by The Kings Noyse.

It looks very late 17thC or very early 18thC and I would guess they are in
costume for some performance, based mostly on her shoulder cloak and ruff
and his costume.
I'm thinking of something like this or a regular hunting style outfit for a
costume I need in April (I'm singing How Would I Play This Part, from The
Grand Duke by for a G&S singing competition) and I want something evocative
of the period but not a mantua or other general 18thC style. In fact the
original costume is very much a Victorian restyling of Swiss/German national
costume;)  It even has a little jacket worn with it, so this style isn't
really too far off the mark and should help establish some character before
I even open my mouth.
It will be not be completely historically correct as it will be worn over a
kilted skirt, but more like a mix of late Victorian and early 18thC.
Oh and the character singing the song is an actress.

michaela de bruce
http://glittersweet.com



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Subject: [h-cost] RE: New pattern
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Deredere wrote:
>Somehow I find the hoops and bustles a bit weird looking.
>I am not sure what it is.

	I'm not sure either, given these are all taken from examples in the
pattern-maker's private collection, accompanied by exhaustive research. I'd
vouch for all the Laughing Moon patterns. These are the most historically
accurate, best engineered patterns on the market. In my opinion, the set the
gold standard for others to follow.

Kathleen wrote:
>These hoops and bustles are wonderful, Lorena!  I have the first one and
the
>last as antiques and you have made them up just as they should be.

	I feel I should clarify, Kathleen: I am not the creator of these
patterns; rather, I am a distributor. I'd love to take the credit, but that
goes to JoAnn Peterson of Laughing Moon. I am, however, delighted to have
her patterns as part of Five Rivers repertoire.

Regards,
Lorina
Five Rivers Chapmanry
purveyors of historical sewing patterns, quality hand-crafted cooperage,
re-enactor and embroidery supplies, and more.
519-799-5577 info@5rivers.org - www.5rivers.org



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In a message dated 3/9/2006 7:47:34 P.M. Eastern Standard Time,  
Deredere.Galbraith@kabelfoon.nl writes:

Somehow  I find the hoops and bustles a bit weird looking.
I am not sure what it  is.



*****************************
 
Me too.
 
The only thing I can put my finger on is, the oblong hoop needs a pad at  the 
back to keep it from tipping up in front.
 
The round hoop is a bit small for a petticoat hoop with so many hoops in  it. 
I have period ones this size but they are all cage hoops and the wires start  
at a little above the knee height. But I like the shape of that  pattern.
 
The bustles seem functional....lord knows there were so many  contraptions to 
achieve that silhouette. But there is something alien about  them.
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Subject: RE: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 14:19:42 -0800
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These also might be easier because the fit doesn't have to be as fussy as
when it's for a live person. Dress forms don't complain.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of ruthanneb@mindspring.com
Sent: Thursday, March 09, 2006 7:06 AM
To: Historical Costume
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


Bravo, Bjarne. What a fitting recognition for your wonderful skills and
accomplishments! You sound as if you're very tempted. These projects sound
like something a bit new for you, a chance to stretch... You COULD tell
yourself that garments for exhibition aren't QUITE "costumes"...and so you
wouldn't be breaking your promise to yourself not to make any more
"costumes"... Keep us posted about what you decide! Best wishes, Ruth Anne
Baumgartner scholar gypsy and amateur costumer

-----Original Message-----
>From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
>Sent: Mar 9, 2006 8:49 AM
>To: h-costume@indra.com
>Subject: [h-cost] dilemma ahhhhhhhhhhh.
>
>Hi,
>I just got an enquiry from a museum. Because this year it is 
>renaissance
>year, a museum has purchased money to get 2 costumes done. I am asked to do

>them. I would make a dress after a portrait of Queen Sophie (the queen they

>remade the wedding dress for) - as a widow. A black dress, small white ruff

>and a black hood.
>Then i should also make a prince outfit for a boy, the chosen prince  who 
>died in 1647. This is rather late, and i dont think it has much to do with 
>renaissance, but..........
>Oh  and i had promised myself from stopping making costumes, and besides, 
>the outfits has to be finished in about 3 months. ..............
>Ah i really dont know, but would be very tempting
>
>Bjarne
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
>_______________________________________________
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Subject: RE: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 15:02:43 -0800
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OK, that makes sense, but what a lot of work! Lovely, though. Gives me an
idea for my costume.......
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Becky
Sent: Thursday, March 09, 2006 7:58 AM
To: Historical Costume
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


It's not as complicated as it looks. Make a ruff with 2 layers. Form a main 
ruff that has all layers. When that is properly spaced. bring the inside 
ruff down into points inside the loops of the outter fabric. It's like 
origami. I can visualize it but may not explain it well.
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 10:52 AM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


>
> In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time, 
> formfunc@formfunction.org writes:
>
> http://www.rosenborgslot.dk/images/pics/a07375wl.jpg
>
>
> What a bizzare ruff! A ruff inside a ruff! 
> _______________________________________________
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> h-costume@mail.indra.com 
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Subject: [h-cost] RE bizarre ruff was :  dilemma ahhhhhhhhhhh.
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It looks like 3 layers with one thick layer between two sheer layers

-----Original Message-----
http://www.rosenborgslot.dk/images/pics/a07375wl.jpg 


What a bizzare ruff! A ruff inside a ruff!


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References: <s40ff416.029@cluster1-gwise3-server.derby.ac.uk>	<f4641068c57ff9fafca73be8dc84cfc9@aol.com><001201c64391$06a603e0$7c83fea9@CPQ21932199711><4410709A.4050701@reddawn.net>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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> In one of my costume books wich is in danish, dont know the english title,
> it is written by an italian lady called Mila Contini, there is a portrait
> very like the same style, of Marie Adelaide de Savoye, duchesse of
Burgundy.
> Its painted in the last part of 17th century, red with gold laces. Her
large
> cufs are entirely covered with gold laces  and her waistcoat is entirely
> gold two.

That would be Fashion, by Mila Contini, I just had another look through my
copy and realised there are in fact a lovely number of images I've really
liked over the years. I found a used copy a couple of years ago and bought
it as it was one of the first costuming books I got hold of. It was in my
school library.

Marie is on page 184. One of my favourite gowns is on page 181 (part of a
two page image) and it's pretty clearly mourning garb. I'm not keen on the
headdress, but the gown is really lovely.
Louis XIV receiving Frederick Augustus of Saxony, Louis Silvestre,
Versailles Museum.

michaela de bruce
http://glittersweet.com



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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Ruff - was Bjarne's dilemma
Date: Thu, 9 Mar 2006 17:17:42 -0800
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Looking at this ruff I actually see three layers.  One big outer layer, then
two ruched together so that one fills the top arches of the large ruff and
the other fills the bottom.  Of course, all the layers may actually be the
same size and you get the rather heart shape of the inner layers as they
become bunched within the outer one.

Ow!  My brain hurts.  I can't wait to see what you do with this one Bjarne!

Regina
>
> What a complicated ruff! I've never seen anything like that. I am
> trying really hard to work it out. Am I mad to think it might be two
> layers of fabric, instead of one - one to make the standard ruff and
> one to make the doubles inside?
>
> >Is this the prince?


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Subject: RE: [h-cost] Ruff - was Bjarne's dilemma
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Looking at the ruff, it may be that the painter just "made up" the ruff
pattern, so it "kind of" looked like the real ruff. Remember, it's a
painting, not a photo, and there is probably a bit of creative license.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Thursday, March 09, 2006 7:50 AM
To: Historical Costume
Subject: [h-cost] Ruff - was Bjarne's dilemma


At 15:43 09/03/2006, you wrote:
>Three months?  Oww.  Is this the portrait of Queen Sophie you'd be 
>doing? http://www.rosenborgslot.dk/images/pics/a07375wl.jpg (different 
>cap color, but I couldn't find anything else in a quick search) Do you 
>know what the whole dress would look like already?  The wedding dress 
>is over 30 years earlier, so it probably wouldn't help... you might 
>have to put in some research time, which would make the 3 months time 
>limit harder.


What a complicated ruff! I've never seen anything like that. I am 
trying really hard to work it out. Am I mad to think it might be two 
layers of fabric, instead of one - one to make the standard ruff and 
one to make the doubles inside?

>Is this the prince? 
>http://www.rosenborgslot.dk/images/pics/a03034wl.jpg
>
>I have no doubt you could do it if you set your mind to it, Bjarne,
>but it sounds like a bit of a headache to me!  Would they consider 
>allowing more time for it and is the money enough to be tempting?
>
>-E House
>
>_______________________________________________
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>h-costume@mail.indra.com 
>http://mail.indra.com/mailman/listinfo/h-costume
>
>


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Subject: [h-cost] Ruff   RE:  dilemma ahhhhhhhhhhh.
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To achieve the look you need 3 layers. Otherwise it will only have the heart
frills in the top loops or the bottom.
You will need to have excess of the frill material to achieve the desired
effect.

De
-----Original Message-----
It's not as complicated as it looks. Make a ruff with 2 layers.


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At 03:18 PM 3/8/2006, you wrote:
>Kimiko Small wrote:
>
>I know what images of George Clifford, the "privateering" Earl looks like. 
>I know what images of Raleigh, and Drake are like, but what would everyday 
>privateers, pirates, or even basic seamen look like during the Elizabethan era?
>
>The Gentlemen of Fortune site gives the best explanation I've seen on the web:
>
>www.gentlemenoffortune.com
>
>
>Dawn


Thanks Dawn. While not the time frame I am looking for, it is very 
informative, and I've learned a lot.

Kimiko


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At 08:29 AM 3/9/2006, you wrote:
>             There's also been a wonderful addition to the Laughing Moon
>Men's Frock Coat pattern, in that in now includes a single-breasted, as well
>as the double-breasted frock coat, with the original two vests that were
>included in the pattern. Again, I'm just waiting for my new stock to arrive.
>You can view that pattern at: http://www.5rivers.org/en-gb/p_776.html


Nice coat. Now I will have something for my husband to wear with me, once I 
get to the Victorian stuff later this year (I will, I will!)

Thanks for sharing the new patterns with us.

Kimiko


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At 03:20 PM 3/8/2006, you wrote:
>I was just looking at "Vecellio's Book of Costumes"(??) and it has several 
>seafaring men depicted. I don't imagine pirates would be any different. 
>It's a Dover book - I may have the title wrong, but the words "Vecellio" 
>and "Costume" are in the title I'm certain.
>
>Suzi
>
>Thanks for the Books of Hours BTW - lovely.


Hi Suzi,

I have that very book, although I forgot it was on my shelves. Thank you, 
the image is ... interesting. Now to scan it for my records.

And I am glad you enjoyed the Book of Hours.

Kimiko


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At 08:06 AM 3/9/2006, you wrote:
>The temptation to make a rude pun is almost overwhelming...but I'll resist <G>
>
>They would wear what everyone else would wear.  There was no particular 
>"uniform" of a pirate.  I looked into this when my huibby was giving me 
>grief about dressing up.  What we think of as "pirates" is out of 
>period...the great coat, the striped clothes, etc.  Darn.  My hubby as 
>Captain Jack...hmmm......  Hubby said he'd wear a great coat & tall boots. 
>Tunics are dresses...
>Julie


Hi Julie,

Thanks for resisting the pun... I am sure we all can come up with something.

This is exactly why I am looking up what they wore, because it was my hunch 
they wore what everyone else wore, but I have no proof of that, and it is 
the visual proof I am looking for. I am going to be doing a visual lecture 
on Costume Myths for our local Ren-faire people.

See, we are currently finding a number of people involving themselves at 
our local Renaissance faires wearing the stereotypical "Pirate" garb, which 
is a much later time frame. While the faire promoters aren't sure what to 
do about it (except for one who has embraced it as her faire theme), I am 
hoping to show people visual images of what exactly they did wear, or at 
least as much info about it as I can. If they want to ignore it, and 
continue to wear the Capt'n Jack Sparrow outfits... at least I tried.

And yeah, if you got a hubby willing to dress like Capt'n Jack... oye. 
Enjoy yourselves. ;-)
I fell in love with my husband because he enjoyed wearing kilts... I really 
like men in kilts.

Kimiko


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] what do renaissance seamen look like?
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At 03:24 AM 3/9/2006, you wrote:
>Well, if you're interested in the middle of the 16th century, we have a 
>bit of an idea of what was worn on the Mary Rose, which sank in 
>1545.  There were a number of leather jerkins found, as well as some wool 
>garment fragments, some wool flat caps, leather shoes... that sort of 
>thing.  The info shouldn't be too hard to track down if you look up the 
>Mary Rose.
>
>Cheers,
>Danielle


Thanks! I found the web site for their display and info, and it was very 
helpful.

Kimiko


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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Fri, 10 Mar 2006 20:48:06 +1100
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While we're on the topic of Equestrian Costume I came across this fashion 
plate 
http://www.costumes.org/history/victorian/women/fashionplates/1859septharpers.jpg 
from 1859. I was under the impression that women didn't wear hoops or skirt 
supports (of whatever style was fashionable at the time) when they were 
riding (as hoops would stand out from the horse's side giving those below a 
view straight up your skirt and bustles or paniers would get in the way of 
you sitting on the horse), but it seems difficult to believe there isn't a 
crinoline under that skirt.
Does anybody have an explanation for why she would wear a crinoline with her 
riding costume? All I can think of is that maybe it's a way to use up the 
extra length in the riding habit, but the 2 big problems with that are A. 
all the fullness is on one side and B. it would mean putting a crinoline on 
underneath your skirts in public. And I'm pretty sure Victorian riding 
habits were only worn when you planned to be actually riding, so no chance 
of having one for show and one for actually getting on a horse.
I'm stumped, if anybody else can offer insights I'm really curious to know.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Hi Elizabeth,
Cant give you any explanations to this, but i remember i have seen movies 
where ladies are riding with crinolines two. This is not evidense, i know.
On the other hand, when i first time visited V&A, they were selling some old 
prints. I baught some of them, and one is Queen Anne of Denmark riding in a 
drum shaped farthingale.

Bjarne

----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 10:48 AM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


> While we're on the topic of Equestrian Costume I came across this fashion 
> plate 
> http://www.costumes.org/history/victorian/women/fashionplates/1859septharpers.jpg 
> from 1859. I was under the impression that women didn't wear hoops or 
> skirt supports (of whatever style was fashionable at the time) when they 
> were riding (as hoops would stand out from the horse's side giving those 
> below a view straight up your skirt and bustles or paniers would get in 
> the way of you sitting on the horse), but it seems difficult to believe 
> there isn't a crinoline under that skirt.
> Does anybody have an explanation for why she would wear a crinoline with 
> her riding costume? All I can think of is that maybe it's a way to use up 
> the extra length in the riding habit, but the 2 big problems with that are 
> A. all the fullness is on one side and B. it would mean putting a 
> crinoline on underneath your skirts in public. And I'm pretty sure 
> Victorian riding habits were only worn when you planned to be actually 
> riding, so no chance of having one for show and one for actually getting 
> on a horse.
> I'm stumped, if anybody else can offer insights I'm really curious to 
> know.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/e_walpole/
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: [h-cost] RE: what do renaissance seamen look like?
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At 08:43 AM 3/9/2006, you wrote:
>There are also the excavations from Red Bay, Labrador and the wreck of the 
>San Juan (1565).  Although I haven't found documentation on more than the 
>shoes, I'm told that the graves of the Basque seamen had clothes that were 
>excavated.
>
>BTW, it is most likely (speaking of shoes) that common seamen were wearing 
>turnshoes like: 
>http://www.personal.utulsa.edu/~marc-carlson/shoe/SHOES/redbay5.html.
>Non-turned shoes, when found, being more expensive possibly denote officers.
>
>Marc


Thank you Marc for that info. I wasn't able to find much on the clothing of 
the San Juan, but I have learned a lot anyway.

And I do appreciate your information on shoes. It is details such as shoes 
that make a difference in the full outfit looking right, or looking off.

Kimiko


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At 04:17 PM 3/8/2006, you wrote:
>Perhaps so, but it begins nearly a hundred years after the close of the 
>Elizabethan era.
>
>   Sailors of the Elizabethan period, based on period art wear loose 
> venetians or what willlater be called slops.  Some are shown closed at 
> the bottom some are not.  The upper body garments tend to be either close 
> fitting doublets, or a loose smock sort of jacket referred to in the 
> period as a cassock.  The real obvious indicator of a sailor is the 
> cap.  The most notable ones being thrummed caps.  Thrummed caps look in 
> art like fur.  They are made from strands of woll (thrum) being afixed 
> through the weave of kit caps, not unlike the modern watch cap.
>
>   Good art does exist out there.  A number of Dutch maps shows mariner 
> figures as does the Mariner's Mirror.  Actually the Dutch version and the 
> English version depict some different figures.  I think it is just after 
> the period, but there are the woodcuts of the BArents expeditions as 
> well.  Some art survivies depicting one of Frobisher's trips as 
> well.  There is also the image depicted in Vecellios that was earlier 
> mentioned.
>
>Ron Carnegie


Hello Ron

Thank you for your explanation. I was looking at the Vecellio's woodcut 
that Suzi mentioned, and couldn't figure out what was going on until I read 
your info. I know Alcega has a pattern for the cassock, although I don't 
know if it is the same or similar, but I will look it up. And the thrummed 
cap gave me a lot to google for (I now understand how to thrum a knitted mitt).

I've found a color image of the Mariner's Mirror, then realized I have a 
B/W copy in one of my books, which is great since the color image is rather 
small, so details are not really there. The Barents expedition is 1596, so 
it is period. I just found a decent image online of one of the images. The 
other one with the polar bear wasn't so clear. It looks like I will have to 
hunt around some more, but you've given me some great leads.

Thank you,

Kimiko


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Date: Fri, 10 Mar 2006 09:40:37 -0500
From: "RON CARNEGIE" <r.carnegie@verizon.net>
Subject: Re: [h-cost] what do renaissance seamen look like?
To: "Historical Costume" <h-costume@indra.com>
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Hello,

   I think Alcega's cassock is a different creature than the sailors 
cassock.  There are a few different article of clothing that use this name, 
and they differ greatly.  Priests wear a long gown that goes by that name, 
in the 17th century there is an overcoat that is called this.  Actually the 
overcoat ios similar to what i am dexcribing, except it is longer.  I am not 
sure if there are any patternn readily available out there, but it is a 
rather easy garment to construct.  Not sure how to verbally descrip it 
though!  It is very similiar to a period shirt, and can be made with fouir 
or five pieces,  To sleeves cut as long rectangles , with a vurve on the top 
to fit into the armscye.  A front an back cut almost the same (you might 
angle the neck openng a little higher in back than in the front, and there 
need to be a least a neck slit ion front).  The front and back should be cut 
with a slight slope at the shoulders (unlike shirts).  I would also curve 
the armscye, as with modern garments or with doublets and things, again 
differnty from a period shirt.  The side seams shoud slope out away from the 
body to give the slightly belled shape seen in some of the pictures.  I 
would add a standing collar between an inch and three inches tall.  The neck 
opening can be just turned, or a facing can be used.  I would clse it with 
buttons, though I have seen ties used on modren reproductions.  I would 
personally make it of wool, though I have seen reproductions at Jamestown 
settlement with ties.  My favorite reproduction at knotwork buttons made 
from hemp line!  I have also seen these cassocks made with canvas, usually 
cotton, though historically is should be linen of hemp.  Thes were made with 
the belief that they might have been constructed from sail cloth, a pratice 
that is documentable for later periods.

   You can leave the garment plain, or you can trim it.  Theonly depictions 
I have seen of trim on these was a Dutch map, that had various historic 
explorers around the edges.  All of them were depicted in these cassock, 
which I think unlikely, officers are usually depicted dressed just like 
landmen gentleman.  I think on this map tha artist was using license to 
makle it clear that they were mariners.  Here the trim was apllied as you 
would guards (around the edges of the body of the garment) and looked like 
various embroidered or metallic as per their wealth.  Like I say  I think 
there is a lot of license there, but I have "guarded" wool cassock with 
simple wool lace or modernly tape.  Makes it a little more interesting.

   If you can find a pattern for a Elizabethan mandillion, this is a very 
similiar creature.  The mandillion buttons all the way down the sides and 
sleeves which allows it to be worn in a few different ways depending on 
warmth desired. They often have pockets as well.  Though I have not seen 
these features in sailor art (actually I might be wrong, I may have seen 
pockets) the 17th century long cassock  must certainly do this so I think it 
is perfectly plausible that some might have. There is also a sleeved cloak 
which is a similiar idea, but thatthe sleeves can actually be buttoned to 
the body to convert a coat into a cape.

   One last consideration.  It is believed by many that these cassocks I am 
describing, are actuually an outergarment (which the mandillions and 17th 
century cassocks certainly are).  If this is the case there should be a 
doublet or at least a jerkin worn under it.  This is still however a matter 
of speculation (as of course is the pattern I described) as it is not clear 
one way or the other from the art.

  I have a very good source for the thrummed caps by the bye.   I have two 
sources, but their better one is far quicker to deliver and far less 
expensive than the other!

Ron Carnegie

----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 3:04 AM
Subject: Re: [h-cost] what do renaissance seamen look like?


> At 04:17 PM 3/8/2006, you wrote:
>>Perhaps so, but it begins nearly a hundred years after the close of the 
>>Elizabethan era.
>>
>>   Sailors of the Elizabethan period, based on period art wear loose 
>> venetians or what willlater be called slops.  Some are shown closed at 
>> the bottom some are not.  The upper body garments tend to be either close 
>> fitting doublets, or a loose smock sort of jacket referred to in the 
>> period as a cassock.  The real obvious indicator of a sailor is the cap. 
>> The most notable ones being thrummed caps.  Thrummed caps look in art 
>> like fur.  They are made from strands of woll (thrum) being afixed 
>> through the weave of kit caps, not unlike the modern watch cap.
>>
>>   Good art does exist out there.  A number of Dutch maps shows mariner 
>> figures as does the Mariner's Mirror.  Actually the Dutch version and the 
>> English version depict some different figures.  I think it is just after 
>> the period, but there are the woodcuts of the BArents expeditions as 
>> well.  Some art survivies depicting one of Frobisher's trips as well. 
>> There is also the image depicted in Vecellios that was earlier mentioned.
>>
>>Ron Carnegie
>
>
> Hello Ron
>
> Thank you for your explanation. I was looking at the Vecellio's woodcut 
> that Suzi mentioned, and couldn't figure out what was going on until I 
> read your info. I know Alcega has a pattern for the cassock, although I 
> don't know if it is the same or similar, but I will look it up. And the 
> thrummed cap gave me a lot to google for (I now understand how to thrum a 
> knitted mitt).
>
> I've found a color image of the Mariner's Mirror, then realized I have a 
> B/W copy in one of my books, which is great since the color image is 
> rather small, so details are not really there. The Barents expedition is 
> 1596, so it is period. I just found a decent image online of one of the 
> images. The other one with the polar bear wasn't so clear. It looks like I 
> will have to hunt around some more, but you've given me some great leads.
>
> Thank you,
>
> Kimiko
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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From: "RON CARNEGIE" <r.carnegie@verizon.net>
Subject: Re: [h-cost] what do renaissance seamen look like?
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      You want to prove the "pyrate" look wrong you might want to go the 
other way about.  Bring in documentation of historic dress in the golden age 
of piracy (a period beginning at the earliest in the middle 17th century and 
usually depicted more around the turn to the 18th).  I say this because such 
research will show that the "pyrate" look when historically inspired at all, 
is just garish example of the civilan dress of the time.  The very argument 
you are in fact making.  Elizabethan pirates probably would even get to be 
garish!  Elizabethan pirates where entirly differnt creatures than the 
brethren of the coast sorts.  The line between honest merchant and pirate 
were very slim.  Beyond that there was no navy in the modern sense.  English 
pirates in the 16th century  were more often than not pirates by oppurtunity 
than prediliction.  Honest sailors who had taken advantage of situation that 
appears, pirated some other poor merchant, and than continued with their 
previous legal operation.  While there were areas in England where acts of 
piracy regularly occured, these tended to be more of a smuggling and 
"wreckers" type activities.  There really was not a pirate culture as would 
later flourish in the Caribbean, American  and Madagascar ports.

Ron Carnegie

>
> Hi Julie,
>
> Thanks for resisting the pun... I am sure we all can come up with 
> something.
>
> This is exactly why I am looking up what they wore, because it was my 
> hunch they wore what everyone else wore, but I have no proof of that, and 
> it is the visual proof I am looking for. I am going to be doing a visual 
> lecture on Costume Myths for our local Ren-faire people.
>
> See, we are currently finding a number of people involving themselves at 
> our local Renaissance faires wearing the stereotypical "Pirate" garb, 
> which is a much later time frame. While the faire promoters aren't sure 
> what to do about it (except for one who has embraced it as her faire 
> theme), I am hoping to show people visual images of what exactly they did 
> wear, or at least as much info about it as I can. If they want to ignore 
> it, and continue to wear the Capt'n Jack Sparrow outfits... at least I 
> tried.
>
> And yeah, if you got a hubby willing to dress like Capt'n Jack... oye. 
> Enjoy yourselves. ;-)
> I fell in love with my husband because he enjoyed wearing kilts... I 
> really like men in kilts.
>
> Kimiko
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] what do renaissance seamen look like?
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During my internship at Jamestown I was asked to research the 'foot of the 
mariner' for the interpretive costume of the mariners c.1609. I wrote up my 
research which I did primarily at the Mariner's Museum in Newport News, VA - 
as I was surveying the dressing of the foot, it may be too narrow a focus 
but I did list several notable records of both naval & merchant slops chests 
if that would be of any help. As might my bibliography

Sarah Paterson (sca.k.a. Bess Darnley) 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Fri, 10 Mar 2006 17:15:10 +0100
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Subject: [h-cost] Danich kings and their outfits
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Hi.
Just to let you know that Rosenborg Castle has made a fantastic website 
where you can examine the individual costumes worn by the danish kings. You 
can turn the pictures round, so you can see every corner of it, and there 
are patterns and details in PDF files format.
Only in danish i am sorry, but i am sure you can find something out.
http://www.kongedragter.dk/
Have fun!!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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>From: Kimiko Small <kimiko@kimiko1.com>
>Thank you Marc for that info. I wasn't able to find much on the clothing of
>the San Juan, but I have learned a lot anyway.

If you do, please let me know.  I've been looking for them for some time now 
:)  I was kinda hoping that someone on the list would see that and it would 
spark a memory - I know where that is! :)

>And I do appreciate your information on shoes. It is details such as shoes
>that make a difference in the full outfit looking right, or looking off.

My pleasure.

Marc


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Hello all,

I've been asked for  " someone to make a highly professional & gorgeous
Jester costume... authentic in appearance but not using authentic fabrics".

If you want this job, please email me privately.



Dawn


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Subject: Re: [h-cost] what do renaissance seamen look like?
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> 
> See, we are currently finding a number of people involving themselves at 
> our local Renaissance faires wearing the stereotypical "Pirate" garb, 
> which is a much later time frame. 

As my father (the final owner of the long-lived family parrot, handed 
down from his grandfather; which grandfather BTW ran away to sea to as a 
cabin boy and came back after one voyage swearing he'd never be a sailor 
again), says:

"Did you ever think about what the back of Long John Silver's coat 
looked like?"

Fran
Lavolta Press
http://www.lavoltapress.com


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] jester costume
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Hi and sorry for my ignorance, what is a Jester Costume?
Bad dictionary here!

Bjarne

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 8:05 PM
Subject: [h-cost] jester costume


> Hello all,
>
> I've been asked for  " someone to make a highly professional & gorgeous
> Jester costume... authentic in appearance but not using authentic 
> fabrics".
>
> If you want this job, please email me privately.
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Bjarne og Leif Drews wrote:

> Hi and sorry for my ignorance, what is a Jester Costume?
> Bad dictionary here!
> 
> Bjarne

Something like this:


http://images.joke.co.uk/images/products/r15426-lge.jpg



Dawn



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A while back, I scanned a ladies' wrapper image out of a Delineator magazine to work on.  I put it in a file for Nov. 1897.  The original color on the image was only printed in blue.  I wanted to try to paint the image for the missing colors.  Last week, I worked on it for a complete day and threw my back out while working. I finished the image today, and went to look in the magazine for the description and found out that the image isn't from the Nov. issue.  I believe it must be from somewhere in the 1896-1898 issues of the magazine.  I have checked all my issues and can't locate it.    

If you have Delineator magazines from this period, would you please check and see if you have this image in it.  I am so upset that I put this much work into an image and can't locate the issue of the magazine that it is from.

I have put a copy of the image online at: www.costumegallery.com/1897/dress3med.jpg 
   
Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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Subject: Re: [h-cost] Danich kings and their outfits
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What a wonderful website.  This is when I wish I need knew how to speak my great grandfather's native language.  He was from Copenhagen.

Roscelin

 -------------- Original message ----------------------
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Hi.
> Just to let you know that Rosenborg Castle has made a fantastic website 
> where you can examine the individual costumes worn by the danish kings. You 
> can turn the pictures round, so you can see every corner of it, and there 
> are patterns and details in PDF files format.
> Only in danish i am sorry, but i am sure you can find something out.
> http://www.kongedragter.dk/
> Have fun!!
> 
> Bjarne
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] what do renaissance seamen look like?
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>
> As my father (the final owner of the long-lived family parrot, handed down 
> from his grandfather; which grandfather BTW ran away to sea to as a cabin 
> boy and came back after one voyage swearing he'd never be a sailor again), 
> says:
>
> "Did you ever think about what the back of Long John Silver's coat looked 
> like?"
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com


Ewwww.....I've seen the bombs my parrot can drop.

Personally, I keep my parrot off my shoulder, because he's easily spooked, 
and I've grown fond of my earlobes and eyeballs.

Dianne 

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>
> And yeah, if you got a hubby willing to dress like Capt'n Jack... oye. 
> Enjoy yourselves. ;-)
> I fell in love with my husband because he enjoyed wearing kilts... I 
> really like men in kilts.
>
> Kimiko

Last week's People magazine had a photo of Johnny Depp, taken on the set of 
the new POtC movie. He was shirtless...rarr.

Dianne 

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Ours (a Mexican redhead creatively named Polly) had a habit of putting 
his head down to be scratched and then taking a good bite out of the 
person who petted him, if they weren't fast enough.

Fran

> 
> Ewwww.....I've seen the bombs my parrot can drop.
> 
> Personally, I keep my parrot off my shoulder, because he's easily 
> spooked, and I've grown fond of my earlobes and eyeballs.
> 
> Dianne
> _______________________________________________
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> 
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Ah, i see, well thanks Dawn, not because i was interrested, but because i 
was currious to se what kind of outfit it would be.
I think it could be fun to make one, but you know, embroidery is my passion!

Bjarne
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 9:51 PM
Subject: Re: [h-cost] jester costume


> Bjarne og Leif Drews wrote:
>
>> Hi and sorry for my ignorance, what is a Jester Costume?
>> Bad dictionary here!
>>
>> Bjarne
>
> Something like this:
>
>
> http://images.joke.co.uk/images/products/r15426-lge.jpg
>
>
>
> Dawn
>
>
>
> _______________________________________________
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Subject: Re: [h-cost] Danich kings and their outfits
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Ah, i must say, its a small world then, how bold of your great grandfather, 
to have the gutss to leave old Denmark.

Bjarne

----- Original Message ----- 
From: <roscelinlimoges@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 11:24 PM
Subject: Re: [h-cost] Danich kings and their outfits


> What a wonderful website.  This is when I wish I need knew how to speak my 
> great grandfather's native language.  He was from Copenhagen.
>
> Roscelin
>
> -------------- Original message ----------------------
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>> Hi.
>> Just to let you know that Rosenborg Castle has made a fantastic website
>> where you can examine the individual costumes worn by the danish kings. 
>> You
>> can turn the pictures round, so you can see every corner of it, and there
>> are patterns and details in PDF files format.
>> Only in danish i am sorry, but i am sure you can find something out.
>> http://www.kongedragter.dk/
>> Have fun!!
>>
>> Bjarne
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>>
>> _______________________________________________
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>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi apropos this topic. If you visited the danish site with the kings 
costumes, the costume wich is shown to the Chr. IV it is a doublet with a 
falling collar from about 1st part of 17th century. Actually this doublet, 
the king wore on board a ship at a battle. He was wounded and therefore they 
kept the costume. So you could say its a sailor outfit from 17th century.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] what do renaissance seamen look like?
Date: Sat, 11 Mar 2006 01:09:34 +0100
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Hi, yes
I know that personality to a bird. When i studyed at the design school, we 
had a day in the zoo to draw animals. I preferred to draw the birds. 
Especially one of them an australian one rose colloured with tall feathers 
on the head, dont know the name, i got quite friendly with, and i could 
stick in my finger and pet it .
After lunch, i hurried back, and the bird was waiting for me ( i thoaght) 
but when i took the finger into him, he just bite me so hard you cant 
imagine. I guess it was another one, and not the other one i had pet before 
lunch.
I never forget that bird................

Bjarne
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 11:49 PM
Subject: Re: [h-cost] what do renaissance seamen look like?


> Ours (a Mexican redhead creatively named Polly) had a habit of putting his 
> head down to be scratched and then taking a good bite out of the person 
> who petted him, if they weren't fast enough.
>
> Fran
>
>>
>> Ewwww.....I've seen the bombs my parrot can drop.
>>
>> Personally, I keep my parrot off my shoulder, because he's easily 
>> spooked, and I've grown fond of my earlobes and eyeballs.
>>
>> Dianne
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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>>
>>
> _______________________________________________
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> 


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Fri, 10 Mar 2006 20:32:20 -0500
To: Historical Costume <h-costume@indra.com>
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Thanks, Jean.  Makes sense.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 10, 2006, at 4:29 PM, Jean Waddie wrote:

> Susan Data-Samtak <pasovasz@aol.com> wrote
> snip
>>
>> I've also heard that many of the "conventions" followed by sidesaddle 
>> riders today, using english style sidesaddles, go back to Victorian 
>> times when so much of life was codified.  One example that was 
>> pointed out to me: black gloves are appropriate to use for US Rev War 
>> impressions, but definitely not for US Civil War, because Victorians 
>> used black gloves as part of their mourning attire and "A Lady would 
>> not be riding if she were in mourning.  A Lady would stay at home, or 
>> be driven in a carriage."  Can anyone confirm such a statement?
>>
> snip
>
> My impression is that Ladies rode for exercise and pleasure, rather 
> than to get from A to B, therefore it is not something one would do 
> while in mourning.
>
> Jean
>
> -- 
> Jean Waddie
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It was probably the same bird.  The way Polly got people to pet him/her 
(we never knew which) was to make it a surprise attack. Sometimes he 
bit, sometimes not.

He/she was a great bird though.

Fran

Bjarne og Leif Drews wrote:
> Hi, yes
> I know that personality to a bird. When i studyed at the design school, 
> we had a day in the zoo to draw animals. I preferred to draw the birds. 
> Especially one of them an australian one rose colloured with tall 
> feathers on the head, dont know the name, i got quite friendly with, and 
> i could stick in my finger and pet it .
> After lunch, i hurried back, and the bird was waiting for me ( i 
> thoaght) but when i took the finger into him, he just bite me so hard 
> you cant imagine. I guess it was another one, and not the other one i 
> had pet before lunch.
> I never forget that bird................
_______________________________________________
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Bjarne, thank you for that wonderful link. My great-grandfather's family
(Sorensen) was also from Denmark and I'm finally doing some genealogy
research with an aunt.
I also wanted to thank you for sharing your beautiful needlework and
costumes with us. Having the historic settings just sets off the clothing so
well. I wish I had your patience for the embroidery work.
Debra in Georgia, USA


 -------------- Original message ----------------------
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Hi.
> Just to let you know that Rosenborg Castle has made a fantastic website
> where you can examine the individual costumes worn by the danish kings.
You
> can turn the pictures round, so you can see every corner of it, and there
> are patterns and details in PDF files format.
> Only in danish i am sorry, but i am sure you can find something out.
> http://www.kongedragter.dk/
> Have fun!!
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
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------------------------------

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[Please reply privately, as this person is not on the mailing list.]


A friend of mine send me your e-mail about the Jester costume. I am a
professional costumer & specialize in Customized Historic Costuming
(mostly 1500's upper - 1900's). I am interested to know more about the
project. Can you give me more details.
   
  Thank you.
  
Mark D. Lakowske
  Master Oliver Higgins, 
  Personal Tailor to their Majesties and Royal Court
  Minnesota Renaissance Festival - Royal Court 
   
  Fabric of Time - Period Design
  Customized Historical Costuming
  http://www.myspace.com/fabricoftimeperioddesign
   
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Subject: Re: [h-cost] Ruff   RE:  dilemma ahhhhhhhhhhh.
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otsisto wrote:
> To achieve the look you need 3 layers. Otherwise it will only have the heart
> frills in the top loops or the bottom.
> You will need to have excess of the frill material to achieve the desired
> effect.

I can do it in paper with two layers that are the same length.  As the 
original poster of the two-layer solution suggested (sorry, I can't 
remember who it was), you just make figure-eights as usual with both 
layers, then in each loop, bend the inner layer into the little heart 
shape.  The inner layer on the top loop of each figure eight will be the 
outer layer on the adjacent bottom loop.

Melanie Schuessler
http://www.faucet.net/costume

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 hmmmm....how about Cap'n Jack IN a kilt??????
ultimate rowwhhh!double oye!
 melody

--- Dianne & Greg Stucki <goofy1@suscom.net> wrote:

> 
> >
> > And yeah, if you got a hubby willing to dress like
> Capt'n Jack... oye. 
> > Enjoy yourselves. ;-)
> > I fell in love with my husband because he enjoyed
> wearing kilts... I 
> > really like men in kilts.
> >
> > Kimiko
> 
> Last week's People magazine had a photo of Johnny
> Depp, taken on the set of 
> the new POtC movie. He was shirtless...rarr.
> 
> Dianne 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Susan Data-Samtak <pasovasz@aol.com> wrote
snip
>
> I've also heard that many of the "conventions" followed by sidesaddle 
>riders today, using english style sidesaddles, go back to Victorian 
>times when so much of life was codified.  One example that was pointed 
>out to me: black gloves are appropriate to use for US Rev War 
>impressions, but definitely not for US Civil War, because Victorians 
>used black gloves as part of their mourning attire and "A Lady would 
>not be riding if she were in mourning.  A Lady would stay at home, or 
>be driven in a carriage."  Can anyone confirm such a statement?
>
snip

My impression is that Ladies rode for exercise and pleasure, rather than 
to get from A to B, therefore it is not something one would do while in 
mourning.

Jean

-- 
Jean Waddie
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Subject: Re: [h-cost] Birds
Date: Sat, 11 Mar 2006 21:37:29 +1100
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Sounds like a Galah:

galah.galahs.com.au/content/php/article016.php

Can't say I've ever met an Australian parrot that's easy to deal with.

Our old neighbours had a Sulpher Crested Cockatoo who would 'stage whisper'
in the middle of the night, too many times we thought someone had broken in!
It would also shriek late at night too. We ended up spraying it with our
hose when it shrieked. They're quite clever, so eventually it got the hint.
My parents had wild parrots eat their wooden pergola and their geranium bed,
and the mess the local cockatoos leave of our flowering eucalypts has to be
seen to be believed - they just rip all the flowers off the trees and drop
them to the ground.

The one that was friendly must have been very tame! We're all fairly wary
(or is it scared) of them over here. But they're very pretty.

Glenda.


----- Original Message ----- 


> Hi, yes
> I know that personality to a bird. When i studyed at the design school, we
> had a day in the zoo to draw animals. I preferred to draw the birds.
> Especially one of them an australian one rose colloured with tall feathers
> on the head, dont know the name, i got quite friendly with, and i could
> stick in my finger and pet it .
> After lunch, i hurried back, and the bird was waiting for me ( i thoaght)
> but when i took the finger into him, he just bite me so hard you cant
> imagine. I guess it was another one, and not the other one i had pet
> before lunch.
> I never forget that bird................
>
> Bjarne


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Subject: [h-cost] Sorenson OT +
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I wonder how common Sorenson is. I know of many in Minnesota and a few in
Missouri.
Interestingly, in trying to search for the name Tias, I was told to try
Denmark. As yet this seemingly obscure surname doesn't seem to be Danish.
Doesn't seem to be any nationality.:P

And speaking of Danish, Has anyone made Danish lace and is there a
recommended book on how to do it?

De

-----Original Message-----
 (snip)
My great-grandfather's family
(Sorensen) was also from Denmark and I'm finally doing some genealogy
research with an aunt.
(snip)
Debra in Georgia, USA


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <200603091549.k29Fn11k013332@net.indra.com>	<00f201c64393$6be7e190$133c0a0a@PURCHASING><6.2.1.2.0.20060309200513.038e8ab0@64.87.54.245>	<4411B4D1.2020809@lavoltapress.com><00af01c64494$0e48f9f0$154d4e40@Stuckis><44120287.3030200@lavoltapress.com><002d01c644a0$13c4ab70$7c83fea9@CPQ21932199711>
	<084e01c644f7$d235cd30$0202a8c0@mycomputer>
Subject: Re: [h-cost] Birds
Date: Sat, 11 Mar 2006 11:57:15 +0100
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Hi,
The best parrot i know is a grey Jaco parrot. They are African. An ex 
boyfriend of mine was a cirkus artist, and his house was full of parrots, 
snakes and turtles. He even had some rare chinese mandarin ducks in the 
garden pond. When i lived with him, i got quite good friends with Jaco, the 
african parrot. I could even take him with me outside sitting on my 
shoulder, and he would´nt fly away. He also learned a few words with my 
voice, he always said Jaco - Juhuuuuuu when i arrived home to him.
Bjarne

----- Original Message ----- 
From: "Glenda Robinson" <glendarob@exemail.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 11, 2006 11:37 AM
Subject: Re: [h-cost] Birds


> Sounds like a Galah:
>
> galah.galahs.com.au/content/php/article016.php
>
> Can't say I've ever met an Australian parrot that's easy to deal with.
>
> Our old neighbours had a Sulpher Crested Cockatoo who would 'stage 
> whisper'
> in the middle of the night, too many times we thought someone had broken 
> in!
> It would also shriek late at night too. We ended up spraying it with our
> hose when it shrieked. They're quite clever, so eventually it got the 
> hint.
> My parents had wild parrots eat their wooden pergola and their geranium 
> bed,
> and the mess the local cockatoos leave of our flowering eucalypts has to 
> be
> seen to be believed - they just rip all the flowers off the trees and drop
> them to the ground.
>
> The one that was friendly must have been very tame! We're all fairly wary
> (or is it scared) of them over here. But they're very pretty.
>
> Glenda.
>
>
> ----- Original Message ----- 
>
>
>> Hi, yes
>> I know that personality to a bird. When i studyed at the design school, 
>> we
>> had a day in the zoo to draw animals. I preferred to draw the birds.
>> Especially one of them an australian one rose colloured with tall 
>> feathers
>> on the head, dont know the name, i got quite friendly with, and i could
>> stick in my finger and pet it .
>> After lunch, i hurried back, and the bird was waiting for me ( i thoaght)
>> but when i took the finger into him, he just bite me so hard you cant
>> imagine. I guess it was another one, and not the other one i had pet
>> before lunch.
>> I never forget that bird................
>>
>> Bjarne
>
>
> _______________________________________________
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> 


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Subject: [h-cost] RE: layers  still: Ruff   
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But from the picture, the inner "heart" piece looks to be of a lighter
weight then the surrounding loop which is why I believe that it is 3 layers
and not two.

De

-----Original Message-----
I can do it in paper with two layers that are the same length.  As the
original poster of the two-layer solution suggested (sorry, I can't
remember who it was), you just make figure-eights as usual with both
layers, then in each loop, bend the inner layer into the little heart
shape.  The inner layer on the top loop of each figure eight will be the
outer layer on the adjacent bottom loop.

Melanie Schuessler
http://www.faucet.net/costume


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Sorenson OT +
Date: Sat, 11 Mar 2006 12:08:31 +0100
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Hi De,
Sorensen would be Sørensen in danish. It is rather common with the name 
Petersen, Nielsen, Jensen and so on. It is the first name of a person with 
sen in the end. Sen means son. Sørens son, Henriks son and so on.
Tias is a rare name, dont you think it could have ben a name someone had 
buyed?
Danish laces ah yes, i have many experiments with these
The danish laces are called Tønder laces, after a city in the south of 
Jutland. In this county there used to live thousinds of lacemakers back in 
18th century, and there was an industry since the 17th century and 
documentation also that it was made there in 16th century. They always made 
laces after the fashion, f.instance when Arras laces was fashionable, they 
made Arras, Lille in fashion, they made Lille and so on.
The laces most people think about today, when thinking Tønder laces, are 
tulle ground laces with floral patterns. These were made from end of 18th 
century till well into the 20th century. One of the best books about some 
danish patterns would be:
Johanne Nyrup Larsen: Knipling efter tegning. (Lace made from drawings)
Inge Wind Skovgaard: Tønderkniplinger I- and II. The last 30 years the 
lacemaking has become a renaissance here, many young people wants to learn.
I am afraid that you will have some troubble in finding english books on the 
subjekt but if you are interrested, i am willing to send you some patterns 
if you like.

Bjarne

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 11, 2006 11:52 AM
Subject: [h-cost] Sorenson OT +


>I wonder how common Sorenson is. I know of many in Minnesota and a few in
> Missouri.
> Interestingly, in trying to search for the name Tias, I was told to try
> Denmark. As yet this seemingly obscure surname doesn't seem to be Danish.
> Doesn't seem to be any nationality.:P
>
> And speaking of Danish, Has anyone made Danish lace and is there a
> recommended book on how to do it?
>
> De
>
> -----Original Message-----
> (snip)
> My great-grandfather's family
> (Sorensen) was also from Denmark and I'm finally doing some genealogy
> research with an aunt.
> (snip)
> Debra in Georgia, USA
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: julian wilson <smnco37@yahoo.co.uk>
To: Bjarne og Leif Drews <drewscph@post12.tele.dk>
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Subject: [h-cost] Burano's historic lace museums & Venice's "Historic
	Costumiers"
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Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
    Sorensen would be Sørensen in danish. SNIPPAGE 
  Danish laces ah yes, i have many experiments with these
MUCH SNIPPAGE 
  Comment
  Dear Bjarne,
  your e-mail header "Sorensen" - is not about a subjects which I'd normally spend time - the lace being a section of "costume history" about which I know very little. However,.......
   
  Burano's Lace Shops and Museums
  For the future, - if you ever decide to visit Venice on holiday, - the little island of BURANO, in the Venetian Lagoon, - is still - [and was for centuries] -  a community of lacemaking Families. The entire village main street is lined with Family-owned shops devoted mainly to Lace, with some embroidery, - and every single one Sally and I entered this summer on our afternoon-long visit to the island, - has it's own little Museum Display of Lacework created just by that Family in the past. The exhibits are all preserved under glass, and generally hanging on the walls in an area specially set-aside at the back of each shop.
  Never have I seen so much historic lace and embroidery gathered together in such a small location - it's only a small island, and only now supports one village; - though at the height of it's lacemaking days, the island is said to have had thousands of lacemakers in the much-larger historic Population. 
  From what I recall of the translated notices on the exhibits, - the Venetian lacemaking industry really began in Burano during the early 16th Century, when the Serene Republic was just past the peak of it's greatest political and military Power, and had begun it's long, slow descent into decadence.
  If you ever go to Venice,  - with your particular interests, - Burano  would really be worth a leisurely visit.
  Historic Costumers in Venice: - 
  Also, with your particular interests, - it might be worth noting that Venice itself is home to a significant number of small, Family-run, Historic Costumiers, They originally came into being to "service" the touristic demand for "Carnival" costumes, - but have since branched-out into costuming for Film-makers and for Museums. Sally and I visited several of them - and came-away from those visits suffering "sensory overload" from all of the wonderful "historic outfits" which were displayed for us to see.




                  Yours in Service, 
  Matthew
  ["Messire Matthew Baker", Governor & Castellan of Jersey, 1486-1497: 
  Motto  - "Si vis pacem, para bellum" (Trans:-"if you wish for Peace, prepare for War") ]
  aka. - Julian Wilson,  - late-medieval Re-enactor; Herald, Historian, & Master Artisan to 
"The Companie of the Duke's Leopards", 
[the Island of "olde" Jersey's only mediæval living-history Group] 
Meet us at <  www.dukesleopards.org  >" 
     [input]  
  - 










		
---------------------------------
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Would this be the portrait, Bjarne?

http://www.kipar.org/period-galleries/paintings/1700/bourgogne.jpg

And a rather lovely doll, modelled after this portrait:

http://www.finavondolls.com/collection/doll.php/10

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- drewscph@post12.tele.dk wrote:

<snip
<In one of my costume books wich is in danish, dont know the english title, 
<it is written by an italian lady called Mila Contini, there is a portrait 
<very like the same style, of Marie Adelaide de Savoye, duchesse of Burgundy. 
<Its painted in the last part of 17th century, red with gold laces. Her large 
<cufs are entirely covered with gold laces  and her waistcoat is entirely 
<gold two.
<Bjarne



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I am so sorry, they did have an english version with the danish kings 
outfits:
http://www.rosenborgslot.dk/v1/person.asp?PersonID=9&countryID=2&PersonTypeID=1

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Hi Joannah,
Yes this was the portrait i ment from the italian costume book.
That doll maker is incredible, what detail, and the likeness of the persons 
is incredible, thanks for posting the link..

Bjarne
----- Original Message ----- 
From: "Joannah Hansen" <Joannah@sluggy.net>
To: <h-costume@indra.com>
Sent: Saturday, March 11, 2006 4:50 PM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


> Would this be the portrait, Bjarne?
>
> http://www.kipar.org/period-galleries/paintings/1700/bourgogne.jpg
>
> And a rather lovely doll, modelled after this portrait:
>
> http://www.finavondolls.com/collection/doll.php/10
>
> Joannah
>
> ~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~
>
> --- drewscph@post12.tele.dk wrote:
>
> <snip
> <In one of my costume books wich is in danish, dont know the english 
> title,
> <it is written by an italian lady called Mila Contini, there is a portrait
> <very like the same style, of Marie Adelaide de Savoye, duchesse of 
> Burgundy.
> <Its painted in the last part of 17th century, red with gold laces. Her 
> large
> <cufs are entirely covered with gold laces  and her waistcoat is entirely
> <gold two.
> <Bjarne
>
>
>
> _____________________________________________________________
> Sluggy.Net: The Sluggy Freelance Community!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Oh no - I put a kilt together with Cap'n Jack's way of walking and I get 
- centre of Glasgow on a Saturday night!  Not a good picture!

Jean


Melody Watts <celticredhead2002@yahoo.com> wrote
> hmmmm....how about Cap'n Jack IN a kilt??????
>ultimate rowwhhh!double oye!
> melody
>
>--- Dianne & Greg Stucki <goofy1@suscom.net> wrote:
>
>>
>> >
>> > And yeah, if you got a hubby willing to dress like
>> Capt'n Jack... oye.
>> > Enjoy yourselves. ;-)
>> > I fell in love with my husband because he enjoyed
>> wearing kilts... I
>> > really like men in kilts.
>> >
>> > Kimiko
>>
>> Last week's People magazine had a photo of Johnny
>> Depp, taken on the set of
>> the new POtC movie. He was shirtless...rarr.
>>
>> Dianne
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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>>
>
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-- 
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Subject: [h-cost] Re:16th Century Spanish patterns
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I believe that the correct URL is:
http://www.vertetsable.com/research_freyle.htm

Beth

At 03:49 AM 3/10/2006, you wrote:
>Date: Thu, 9 Mar 2006 20:01:04 -0800 (PST)
>    From: Esperanza de Navarra <esperanzadenavarra@yahoo.com>
>Subject: 16th Century Spanish patterns
>
>I found this neat site for those of you with late Spanish personas:
>   http://web.archive.org/web/20030204224256/www.vertetsable.com/freyle.htm
>
>   I had to get it from the web archive since it looks like it is no 
> longer there.
>
>   It has copies of manuscript pages from Diego de Freyle (1588) 
> which  looks to be a book of patterns for clothing.  If you are even 
> a  moderate garb maker, you can easily pick out what is what.
>
>   Esperanza de Navarra

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From h-costume-bounces@indra.com  Sat Mar 11 18:25:50 2006
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Subject: [h-cost] Tea towels
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Does anyone know where to get tea towels/dish towels of the non-pile 
linen or cotton type, preferably from the US?  With more or less 
historic-looking printed or woven designs such as tapestry, medieval, 
William Morris, Art Nouveau, Arts & Crafts, Victorian . . . you get the 
idea.  With nice designs but not cute/sweet.

Fran
Lavolta Press
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Try www.victoriantradingco.com they usually have stuff like that.
                              Tania 
 
-----Original Message-----
From: Lavolta Press <fran@lavoltapress.com>
To: h-costume@indra.com
Sent: Sat, 11 Mar 2006 15:25:22 -0800
Subject: [h-cost] Tea towels


Does anyone know where to get tea towels/dish towels of the non-pile linen or cotton type, preferably from the US? With more or less historic-looking printed or woven designs such as tapestry, medieval, William Morris, Art Nouveau, Arts & Crafts, Victorian . . . you get the idea. With nice designs but not cute/sweet. 
 
Fran 
Lavolta Press 
http://www.lavoltapress.com 
_______________________________________________ 
h-costume mailing list 
h-costume@mail.indra.com 
http://mail.indra.com/mailman/listinfo/h-costume 
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Date: Sat, 11 Mar 2006 21:05:13 -0500
From: monica spence <monicaspence@optonline.net>
Subject: looking for a painting (was:)RE: [h-cost] Re:16th Century Spanish
	patterns
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Cc: Laurel <discuss-laurel@lists.eastkingdom.org>,
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Speaking of late Spanish personas...

About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
Museum of Women in the Arts  in Washington DC. There was a rather large
painting of an Infanta (Spanish princess) who was the daughter of Philip II.
She was wearing mourning for her mother and was in all black-- including her
jewelry. Has anyone else ever seen this? It is supposed to be ion the Prado,
but I have never seen it reproduced anywhere.  If you know where I can find
this, please let me know! Thanks.
Monica Spence
(Catriona MacDuff in the SCA)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Beth and Bob Matney
Sent: Saturday, March 11, 2006 5:57 PM
To: h-costume@mail.indra.com
Subject: [h-cost] Re:16th Century Spanish patterns


I believe that the correct URL is:
http://www.vertetsable.com/research_freyle.htm

Beth

At 03:49 AM 3/10/2006, you wrote:
>Date: Thu, 9 Mar 2006 20:01:04 -0800 (PST)
>    From: Esperanza de Navarra <esperanzadenavarra@yahoo.com>
>Subject: 16th Century Spanish patterns
>
>I found this neat site for those of you with late Spanish personas:
>   http://web.archive.org/web/20030204224256/www.vertetsable.com/freyle.htm
>
>   I had to get it from the web archive since it looks like it is no
> longer there.
>
>   It has copies of manuscript pages from Diego de Freyle (1588)
> which  looks to be a book of patterns for clothing.  If you are even
> a  moderate garb maker, you can easily pick out what is what.
>
>   Esperanza de Navarra

_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


_______________________________________________
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <44135C62.9010007@lavoltapress.com>
Subject: Re: [h-cost] Tea towels
Date: Sun, 12 Mar 2006 13:18:45 +1100
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The only one I know of is the reproduction medieval table linens carried by 
Historic Enterprises 
http://www.historicenterprises.com/cart.php?m=product_list&c=113 But 
wouldn't most tea towels have been fairly plain and functional, possibly 
even rags (when your linen underwear wears out in one place you can cut down 
the rest of the smock/shirt to make something useful, like a tea towel). 
Unless you can think of a context in which they would be seen by guests (as 
if you could afford to have an ornamental tea towel your guests wouldn't see 
your kitchen)
Elizabeth
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Sunday, March 12, 2006 10:25 AM
Subject: [h-cost] Tea towels


> Does anyone know where to get tea towels/dish towels of the non-pile linen 
> or cotton type, preferably from the US?  With more or less 
> historic-looking printed or woven designs such as tapestry, medieval, 
> William Morris, Art Nouveau, Arts & Crafts, Victorian . . . you get the 
> idea.  With nice designs but not cute/sweet.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com

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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
References: <NJEJJAKCDDIJCJLBNKFICEFJCOAA.monicaspence@optonline.net>
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th Century
	Spanishpatterns
Date: Sun, 12 Mar 2006 16:06:15 +1300
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> About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
> Museum of Women in the Arts  in Washington DC. There was a rather large
> painting of an Infanta (Spanish princess) who was the daughter of Philip
II.
> She was wearing mourning for her mother and was in all black-- including
her
> jewelry. Has anyone else ever seen this? It is supposed to be ion the
Prado,
> but I have never seen it reproduced anywhere.  If you know where I can
find
> this, please let me know! Thanks.


Let me know if its one of the paintings here:
http://sayaespanola.glittersweet.com

Otherwise I have a few books at the local fine arts library I can have a
hunt trhough and see if there is similar painting.

I have a few more portraits I haven't uploaded/linked to in my site so it
may be I have it on file and not on the web.

michaela de bruce
http://glittersweet.com



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Elizabeth Walpole wrote:
> The only one I know of is the reproduction medieval table linens carried 
> by Historic Enterprises 
> http://www.historicenterprises.com/cart.php?m=product_list&c=113 But 
> wouldn't most tea towels have been fairly plain and functional, possibly 
> even rags (when your linen underwear wears out in one place you can cut 
> down the rest of the smock/shirt to make something useful, like a tea 
> towel). Unless you can think of a context in which they would be seen by 
> guests (as if you could afford to have an ornamental tea towel your 
> guests wouldn't see your kitchen)

These aren't for reenactment. I just like to have everything possible 
around my house be things I really like, whether anyone else sees the 
stuff or not. And I much prefer historic looking textiles (of many 
periods) to most modern ones. It would be more virtuous to use up some 
of my linen scraps, but I don't feel like it right now.

Thanks for the link,

Fran
Lavolta Press
http://www.lavoltapress.com

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Date: Sat, 11 Mar 2006 22:40:03 -0500
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th Century
	Spanish patterns
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Quoting monica spence <monicaspence@optonline.net>:

> Speaking of late Spanish personas...
>
> About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
> Museum of Women in the Arts  in Washington DC. There was a rather large
> painting of an Infanta (Spanish princess) who was the daughter of Philip II.
> She was wearing mourning for her mother and was in all black-- including her
> jewelry. Has anyone else ever seen this? It is supposed to be ion the Prado,
> but I have never seen it reproduced anywhere.  If you know where I can find
> this, please let me know! Thanks.

Might it be this one
http://www.bildindex.de/bilder/fmlac10526_01a.jpg

Jerusha (who *really* likes Sofonisba's works)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Sorenson OT +
Date: Sat, 11 Mar 2006 21:54:47 -0600
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I knew about the sen and son part of the name. :)
There is a possibility the name Tias might have been Ties. I've pretty much
given up the search. Most of my families records lead to a dead end due to
fires at the court houses.:P

The Danish lace info is for a friend's cousin who is trying to recreate a
1800s wedding dress from a picture and letters. A letter mentions something
about the dress lace being Danish lace.
So she was wanting to learn how to make the lace.
De

-----Original Message-----
Hi De,
Sorensen would be Sørensen in danish. It is rather common with the name
Petersen, Nielsen, Jensen and so on. It is the first name of a person with
sen in the end. Sen means son. Sørens son, Henriks son and so on.
Tias is a rare name, dont you think it could have ben a name someone had
buyed?
Danish laces ah yes, i have many experiments with these
The danish laces are called Tønder laces, after a city in the south of
Jutland. In this county there used to live thousinds of lacemakers back in
18th century, and there was an industry since the 17th century and
documentation also that it was made there in 16th century. They always made
laces after the fashion, f.instance when Arras laces was fashionable, they
made Arras, Lille in fashion, they made Lille and so on.
The laces most people think about today, when thinking Tønder laces, are
tulle ground laces with floral patterns. These were made from end of 18th
century till well into the 20th century. One of the best books about some
danish patterns would be:
Johanne Nyrup Larsen: Knipling efter tegning. (Lace made from drawings)
Inge Wind Skovgaard: Tønderkniplinger I- and II. The last 30 years the
lacemaking has become a renaissance here, many young people wants to learn.
I am afraid that you will have some troubble in finding english books on the
subjekt but if you are interrested, i am willing to send you some patterns
if you like.

Bjarne


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From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Hi Susan,

I've only stumbled across this post by accident while deleting this 
thread... (not much of a rider being deathly allergic to animals)...

Anyway, I've seen an extant 16th c. English sidesaddle (Shakespeare's 
Birthplace Museum) so I know they existed before 1800, and it is one 
of the oddest looking things I've seen.  I wasn't allowed to take 
photos there and there weren't any postcards of it (unfortunately) 
but if memory serves me it was sea-green leather thing (however, I 
could be misremembering and it might have been more blue than that) 
with silver braid in chevron-pattern or stripes.  It was basically 
perfectly flat, oval shape on top with the pommel sticking up like a 
monolith at the center front.  There wasn't much else too it, beside 
a rather normal looking saddle understructure - it was like instead 
of having a normal saddle seat they filled that area in and stuck a 
plate on top of it.  It looked incredibly uncomfortable to sit on, 
and I would imagine it would cut of the circulation to your legs in 
no time at all.

IIRC, there is a drawing of a woman using a contraption to sit 
sideways on a horse in Ruth Matilda Anderson's "Hispanic Costume: 
1480 - 1530" as well.

I found it interesting that Queen Elizabeth's saddle at Warwick 
Castle is a normal "astride" saddle, if rather ornamented.

Cheers,
Danielle

At 10:33 AM 3/8/2006, you wrote:
>Thanks, Melusine.
>
> From what I've learned, so far, riding clothes were not very 
> different from regular clothes until rather recently.  Sidesaddles 
> are also a recent invention.  I've heard that sidesaddles, as we 
> understand the term, did not exist prior to about 1800.  I don't 
> know if that is true.

<snip>

>Susan

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So, since this is a hunting costume, is that really long train at the back  
intended to drape over the horse as in the other two portraits that were posted 
 to the list? 
 
Tea Rose, who is planning a loose interpretation of a gown just like this. 
 
In a message dated 3/11/2006 1:01:46 P.M. Central Standard Time,  
h-costume-request@indra.com writes:

Date:  Sat, 11 Mar 2006 07:50:43 -0800 (PST)
From: "Joannah Hansen"  <Joannah@SLUGGY.NET>
Subject: Re: [h-cost] Equestrian costuming &  other period "tack"

Would this be the portrait,  Bjarne?

http://www.kipar.org/period-galleries/paintings/1700/bourgogne.jpg



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Here is much info to digest.  Comments?

http://ilaria.veltri.tripod.com/sidesaddle.html

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour
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Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 10, 2006, at 4:48 AM, Elizabeth Walpole wrote:

> While we're on the topic of Equestrian Costume I came across this  
> fashion plate  
> http://www.costumes.org/history/victorian/women/fashionplates/ 
> 1859septharpers.jpg from 1859. I was under the impression that women  
> didn't wear hoops or skirt supports (of whatever style was fashionable  
> at the time) when they were riding (as hoops would stand out from the  
> horse's side giving those below a view straight up your skirt and  
> bustles or paniers would get in the way of you sitting on the horse),  
> but it seems difficult to believe there isn't a crinoline under that  
> skirt.
> Does anybody have an explanation for why she would wear a crinoline  
> with her riding costume? All I can think of is that maybe it's a way  
> to use up the extra length in the riding habit, but the 2 big problems  
> with that are A. all the fullness is on one side and B. it would mean  
> putting a crinoline on underneath your skirts in public. And I'm  
> pretty sure Victorian riding habits were only worn when you planned to  
> be actually riding, so no chance of having one for show and one for  
> actually getting on a horse.
> I'm stumped, if anybody else can offer insights I'm really curious to  
> know.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/e_walpole/
>
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From: Michelle Plumb <mplumb@wideopenwest.com>
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Status: RO

I know how you feel, Bjarne.

My family research hit a wall too, due to a language barrier and a 
revolution.

My great-great-great--(forget how many greats) grandfather left France 
in 1786 (3 years before the French Revolution) for Canada at the age of two.

I don't speak French, and even if I did the odds of any records 
surviving the Revolution probably aren't good.

On the other hand, a cousin has traced my great-great--(again, forgot 
how many greats) grandmother, Lady Anne Gosse, to 1660s England.

I think we have an SCA persona here!  I can borrow her name and craft a 
history based on the info my cousin dug up.

Michelle, seeing the cup half-full.
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Subject: [h-cost] Source for aesthetic style silk
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Greetings:

At $345 Canadian a yard - not even in metres! I'm glad I'm not interested 
in  doing anything in the aesthetic style, but it shure nuff is purty! 
"This rich silk fabric is based on an original made in England in the 
1880's. The document (original) colour is in a Robin's Egg blue on Cream, 
but it is offered in six other colours as well."

http://www.charlesrupert.com/traditional/1880to1900/aestheticsilk.html

This company has a wide variety of reproduction wallpapers and textiles  too.

Sheridan Alder

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From h-costume-bounces@indra.com  Sun Mar 12 05:19:52 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Sorenson OT +
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Hi Michelle,
It was not me, who could not trace my family. It was De.
My family name Drews is traced back to Friesland in nothern Germany. It was 
one of these, who came to Denmark to grow the new potatoes. In Germany many 
people is called Drews, but here in Denmark we are only 2 families with that 
name.
I think there was a danish king, who gave away land for the new potato 
pheassants.
Bjarne

----- Original Message ----- 
From: "Michelle Plumb" <mplumb@wideopenwest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 6:11 AM
Subject: Re: [h-cost] Sorenson OT +


>I know how you feel, Bjarne.
>
> My family research hit a wall too, due to a language barrier and a 
> revolution.
>
> My great-great-great--(forget how many greats) grandfather left France in 
> 1786 (3 years before the French Revolution) for Canada at the age of two.
>
> I don't speak French, and even if I did the odds of any records surviving 
> the Revolution probably aren't good.
>
> On the other hand, a cousin has traced my great-great--(again, forgot how 
> many greats) grandmother, Lady Anne Gosse, to 1660s England.
>
> I think we have an SCA persona here!  I can borrow her name and craft a 
> history based on the info my cousin dug up.
>
> Michelle, seeing the cup half-full.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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That was probably a galah. 

http://en.wikipedia.org/wiki/Galah

Whenever I hear galahs calling/screaming, it reminds me of being on my grandma's farm in northwest Victoria.

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- drewscph@post12.tele.dk wrote:

Hi, yes
I know that personality to a bird. When i studyed at the design school, we 
had a day in the zoo to draw animals. I preferred to draw the birds. 
Especially one of them an australian one rose colloured with tall feathers 
on the head, dont know the name, i got quite friendly with, and i could 
stick in my finger and pet it .
After lunch, i hurried back, and the bird was waiting for me ( i thoaght) 
but when i took the finger into him, he just bite me so hard you cant 
imagine. I guess it was another one, and not the other one i had pet before 
lunch.
I never forget that bird................

Bjarne


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From: "Joannah Hansen" <Joannah@SLUGGY.NET>
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Subject: Re: [h-cost] Danish ancestors
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Your great-grandfather, too, Roscelin? My great-grandfather Hansen was a Danish sailor, which is how he ended up in Brisbane and met my great-grandmother. We've probably both got relatives all over Denmark. :-)

A funny story about names - when my mother was pregnant with me, she wanted to choose a name which would go well with the Danish Hansen name. She saw a book of Danish baby names advertised somwhere, and sent away for it. When it arrived, she discovered it was IN Danish! ( She only knows English. ) I'm not sure how she came up with name I was christened with, or the spelling. I know there are other people with the same spelling, but I've never met one - all other variations of Joanna, Johanna, etc. Ive met - but not mine.

Joannah.

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- roscelinlimoges@comcast.net wrote:

What a wonderful website.  This is when I wish I need knew how to speak my great grandfather's native language.  He was from Copenhagen.

Roscelin



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From h-costume-bounces@indra.com  Sun Mar 12 08:17:33 2006
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Subject: Re: [h-cost] Tea towels
Date: Sun, 12 Mar 2006 08:18:12 -0500
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Fran, the only time I have seen any that might be as you describe is at
antique flea markets...such as Brimfield in Ma. Sometimes there are rummage
baskets with assorted (and sometimes unculled) linen. At the July (5 day
session) I am usually over-warm and end up searching for a stylish sort of
tea towel or dresser cloth to use as a perspiration towel,  Have netted a
couple with nice fringe much as you describe. The best ones of course are
usually folded nicely on tables with prices to pay for the TLC.  But a few
don't make that far because the dealer doesn't "do" textiles and just has
this old box of rags hanging about.  These are of course what I look for.
Brimfield happens three times a year and is located less than 10 miles from
Sturbridge Village (a 19thC living history community). There are acres and
acres of tents and dealers.

Kathleen

----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Saturday, March 11, 2006 6:25 PM
Subject: [h-cost] Tea towels


> Does anyone know where to get tea towels/dish towels of the non-pile
> linen or cotton type, preferably from the US?  With more or less
> historic-looking printed or woven designs such as tapestry, medieval,
> William Morris, Art Nouveau, Arts & Crafts, Victorian . . . you get the
> idea.  With nice designs but not cute/sweet.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> _______________________________________________
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You should hear the stories a friend of mine who works at the RSPCA here in Brisbane tells about a sulphur crested cockatoo that lives at the shelter.

The bird's name is Bob, which he knows very well - even referring to himself in the third person. Bob got moved one day to the reception area, and promptly started calling himself another name. 'Scratch Harry, scratch Harry?' He completely bamboozled the reception staff - they had no idea that he was really Bob. Now, how many birds decide to have an identity change?

Bob is just a bit too smart, sometimes, by the sound of things. He's also really cantankerous and unpredictable, which is why he is still at the shelter. 

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- glendarob@exemail.com.au wrote:

Sounds like a Galah:

galah.galahs.com.au/content/php/article016.php

Can't say I've ever met an Australian parrot that's easy to deal with.

Our old neighbours had a Sulpher Crested Cockatoo who would 'stage whisper'
in the middle of the night, too many times we thought someone had broken in!
It would also shriek late at night too. We ended up spraying it with our
hose when it shrieked. They're quite clever, so eventually it got the hint.
My parents had wild parrots eat their wooden pergola and their geranium bed,
and the mess the local cockatoos leave of our flowering eucalypts has to be
seen to be believed - they just rip all the flowers off the trees and drop
them to the ground.

The one that was friendly must have been very tame! We're all fairly wary
(or is it scared) of them over here. But they're very pretty.

Glenda.


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 OT
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Wow!  What an interesting observation!  I too have horses and just 
recently bought a new one just so I could dress her and myself up!  My 
other horses are all Quarter horses, and they just don't suit my 
costuming  tastes.  I had a side saddle made about 10 years ago for this 
purpose also, but for Annettes reasons, have not gotten around to using 
if to my cosutming ends.  I would LOVE to have discussion with others of 
like mind.  Perhaps we could keep our costuming discussions on this list 
because there are such good resources (and I myself love to read other's 
posts even if they are outside my current focus.).  What if we 
precededed each of our equestrian posts with an EQ-as I have done, and 
create a Yahoo group for all the other non-costume related discussions.  
(I'd love to shary horse stories, pictures etc.)

Yeah!

Sg
Kahlara wrote:

>Over the years I have found that most of my creative associations seem to have at least two or three similarities in other areas as well as the shared interest in which we first became aquainted.
>   
>  I have noticed several list members make reference to horses and riding. I ride and own horses also. I also have made various articles of riding clothing and costumes for shows over the years (to keep it close to list topic).
>   
>  Although each individual is different, there seems to be a range of interests that most creative people share to one degree or another. For my part...
>   
>  horses, cats (or pets in general), costuming, reading, theatre, good movies, classical and traditional music, gardening, other artistically creative endeavors such as panting or some type of crafting, etc. And of course, the list always exceeds the amount of time available to pursue said interests.
>   
>  Just a little generalizing. ;-)
>   
>  Annette M
>
>		
>---------------------------------
>Brings words and photos together (easily) with
> PhotoMail  - it's free and works with Yahoo! Mail.
>_______________________________________________
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>
>
>  
>

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Hi,
The most common name would be Johanne with an e last.
Its the equivalent to Johan wich is a mans name, or perhaps Johannes, wich 
is a name taken from the bible. It would be John the baptistÂ´danish name, 
Johannes.
Yes in the end all you australian and american, would all be european 
origin.
Wish i had the warmth here as they have in Australia. We have had frost for 
months now, and we long to get some spring here................ My kitchen 
where i sit with the puter, is not heated, so you dont want to stay here 
very long.

Bjarne
----- Original Message ----- 
From: "Joannah Hansen" <Joannah@sluggy.net>
To: <h-costume@indra.com>
Sent: Sunday, March 12, 2006 2:09 PM
Subject: Re: [h-cost] Danish ancestors


> Your great-grandfather, too, Roscelin? My great-grandfather Hansen was a 
> Danish sailor, which is how he ended up in Brisbane and met my 
> great-grandmother. We've probably both got relatives all over Denmark. :-)
>
> A funny story about names - when my mother was pregnant with me, she 
> wanted to choose a name which would go well with the Danish Hansen name. 
> She saw a book of Danish baby names advertised somwhere, and sent away for 
> it. When it arrived, she discovered it was IN Danish! ( She only knows 
> English. ) I'm not sure how she came up with name I was christened with, 
> or the spelling. I know there are other people with the same spelling, but 
> I've never met one - all other variations of Joanna, Johanna, etc. Ive 
> met - but not mine.
>
> Joannah.
>
> ~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~
>
> --- roscelinlimoges@comcast.net wrote:
>
> What a wonderful website.  This is when I wish I need knew how to speak my 
> great grandfather's native language.  He was from Copenhagen.
>
> Roscelin
>
>
>
> _____________________________________________________________
> Sluggy.Net: The Sluggy Freelance Community!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: EQ-Re: [h-cost] Equestrian costumers and other hobbies - sort of
	OT
Date: Sun, 12 Mar 2006 14:58:15 +0100
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Hi,
Oh yes please have this disgussion on the list. Its no bother at all, and 
very costume contented. It would be a shame if everybody made small forums 
for special things, we would end up with nothing in the end, and then i 
would be very sad!

Bjarne
----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 2:50 PM
Subject: EQ-Re: [h-cost] Equestrian costumers and other hobbies - sort of OT


> Wow!  What an interesting observation!  I too have horses and just 
> recently bought a new one just so I could dress her and myself up!  My 
> other horses are all Quarter horses, and they just don't suit my costuming 
> tastes.  I had a side saddle made about 10 years ago for this purpose 
> also, but for Annettes reasons, have not gotten around to using if to my 
> cosutming ends.  I would LOVE to have discussion with others of like mind. 
> Perhaps we could keep our costuming discussions on this list because there 
> are such good resources (and I myself love to read other's posts even if 
> they are outside my current focus.).  What if we precededed each of our 
> equestrian posts with an EQ-as I have done, and create a Yahoo group for 
> all the other non-costume related discussions.  (I'd love to shary horse 
> stories, pictures etc.)
>
> Yeah!
>
> Sg
> Kahlara wrote:
>
>>Over the years I have found that most of my creative associations seem to 
>>have at least two or three similarities in other areas as well as the 
>>shared interest in which we first became aquainted.
>>   I have noticed several list members make reference to horses and 
>> riding. I ride and own horses also. I also have made various articles of 
>> riding clothing and costumes for shows over the years (to keep it close 
>> to list topic).
>>   Although each individual is different, there seems to be a range of 
>> interests that most creative people share to one degree or another. For 
>> my part...
>>   horses, cats (or pets in general), costuming, reading, theatre, good 
>> movies, classical and traditional music, gardening, other artistically 
>> creative endeavors such as panting or some type of crafting, etc. And of 
>> course, the list always exceeds the amount of time available to pursue 
>> said interests.
>>   Just a little generalizing. ;-)
>>   Annette M
>>
>> ---------------------------------
>>Brings words and photos together (easily) with
>> PhotoMail  - it's free and works with Yahoo! Mail.
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>>
>
> _______________________________________________
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> 


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Subject: Re: [h-cost] RE: layers  still: Ruff
References: <IDEHICPIJOEBPADHEOGPAENAGAAA.otsisto@socket.net>
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otsisto wrote:
> But from the picture, the inner "heart" piece looks to be of a lighter
> weight then the surrounding loop which is why I believe that it is 3 layers
> and not two.

I'm trying to picture how this could work with three layers.  The 
innermost layer of any loop is always the outermost layer of the next 
loop.  Are you picturing two lighter weight layers with a heavier layer 
in between?

As far as extra fullness in some layers and not others, I can't see how 
it could work.  If you had two lightweight layers with a heavier one 
between, and both lightweight layers had more fullness than the heavier 
layer, you'd end up with too much on the outside of every loop.

Try your method in paper and see if it works.

I think the lightweight vs. heavier layers in the painting may be an 
illlusion and that Occam's Razor is our friend here.

Cheers,
Melanie

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References: <NJEJJAKCDDIJCJLBNKFICEFJCOAA.monicaspence@optonline.net>
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th Century
	Spanishpatterns
Date: Sun, 12 Mar 2006 07:48:17 -0700
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It sure doesn't show up in my book on Anguissola.  There are a couple of
portraits of women in black, but neither is one of the Infantas (assuming
you're referring to the daughters of Philip and Isabel...there don't seem to
be any in my book at all of Philip and Anne's children).  In addition, there
are several portraits of the two Infantas, but none of them have any
attribute of being a "mourning" outfit.  In the portraits of the girls when
younger, they're wearing a dark, brocaded fabric.  In older portraits,
they're wearing mostly black, but so it virtually every other adult from the
Spanish court.
Could the exhibit have been making an incorrect assumption about the use of
black in the portraits? Their mother died when they were very young (toddler
& infant).....
--Sue

----- Original Message -----
From: "monica spence" <monicaspence@optonline.net>
To: "Historical Costume" <h-costume@indra.com>
Cc: "Laurel" <discuss-laurel@lists.eastkingdom.org>; "Maunche"
<discuss-maunche@lists.eastkingdom.org>
Sent: Saturday, March 11, 2006 7:05 PM
Subject: looking for a painting (was:)RE: [h-cost] Re:16th Century
Spanishpatterns


> Speaking of late Spanish personas...
>
> About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
> Museum of Women in the Arts  in Washington DC. There was a rather large
> painting of an Infanta (Spanish princess) who was the daughter of Philip
II.
> She was wearing mourning for her mother and was in all black-- including
her
> jewelry. Has anyone else ever seen this? It is supposed to be ion the
Prado,
> but I have never seen it reproduced anywhere.  If you know where I can
find
> this, please let me know! Thanks.
> Monica Spence
> (Catriona MacDuff in the SCA)


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Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th Century
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Quoting Sue Clemenger <mooncat@in-tch.com>:

> It sure doesn't show up in my book on Anguissola.  There are a couple of
> portraits of women in black, but neither is one of the Infantas (assuming
> you're referring to the daughters of Philip and Isabel...there don't seem to
> be any in my book at all of Philip and Anne's children).  In addition, there
> are several portraits of the two Infantas, but none of them have any
> attribute of being a "mourning" outfit.  In the portraits of the girls when
> younger, they're wearing a dark, brocaded fabric.  In older portraits,
> they're wearing mostly black, but so it virtually every other adult from the
> Spanish court.

I have to say this is the first time I'd ever seen this one
http://www.bildindex.de/bilder/fmlac10526_01a.jpg

I *really* want to know how to search that web site!

(Are you looking at the Perlingeri book?  I love that book -- I want a
copy!)

Susan (ska Jerusha)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
	CenturySpanishpatterns
Date: Sun, 12 Mar 2006 08:33:00 -0700
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Perlingeri it is! <weg> I lucked into getting one 12 or 13 years ago at an
SCA event (Estrella War)  At the time, I was heavily into late 16th century
clothing, so finding it was like finding "the god book," especially since it
was some time before QEUnlocked came out.   And Anguissola being a woman
made the whole thing that much sweeter.
My oldest cat is named "Sofi," after the artist, but I've given up trying to
explain it to non-Ren geeks ;o)  (Kitty in question is striped, with a white
smudge of "paint" on her nose).
I *still* would like to make every dress in that book!  I love the variety
of Spanish and Italian styles, and the paintings as portraits--it's
fascinating to look and see real people, if that makes sense.  I'm not an
art historian, so some of the finer points of the way this hand was painted,
or particular attributions of color choices, etc. escape me entirely, but
it's a wonderful book for the biography and the paintings, even so!
--Sue
----- Original Message -----
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 8:05 AM
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
CenturySpanishpatterns


> Quoting Sue Clemenger <mooncat@in-tch.com>:
>
> > It sure doesn't show up in my book on Anguissola.  There are a couple of
> > portraits of women in black, but neither is one of the Infantas
(assuming
> > you're referring to the daughters of Philip and Isabel...there don't
seem to
> > be any in my book at all of Philip and Anne's children).  In addition,
there
> > are several portraits of the two Infantas, but none of them have any
> > attribute of being a "mourning" outfit.  In the portraits of the girls
when
> > younger, they're wearing a dark, brocaded fabric.  In older portraits,
> > they're wearing mostly black, but so it virtually every other adult from
the
> > Spanish court.
>
> I have to say this is the first time I'd ever seen this one
> http://www.bildindex.de/bilder/fmlac10526_01a.jpg
>
> I *really* want to know how to search that web site!
>
> (Are you looking at the Perlingeri book?  I love that book -- I want a
> copy!)
>
> Susan (ska Jerusha)


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Subject: Re: EQ-Re: [h-cost] Equestrian costumers and other hobbies - sort of
	OT
Date: Sun, 12 Mar 2006 10:37:06 -0500
To: Historical Costume <h-costume@indra.com>
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I am also interested in other people's areas of interest in costumes, 
if only because the people on this list are so knowledgeable and 
willing to share.  I'm sure that I will NEVER attain the fabric related 
skills of many people on this list, but it is so much fun to see what 
others have accomplished.  Brightens up my day with these beautiful 
things

Sg- what type of horse did you buy and what type of costuming are you 
looking to reproduce?

I would also like to share horse stories with you folks.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 12, 2006, at 8:50 AM, WickedFrau wrote:

> Wow!  What an interesting observation!  I too have horses and just 
> recently bought a new one just so I could dress her and myself up!  My 
> other horses are all Quarter horses, and they just don't suit my 
> costuming  tastes.  I had a side saddle made about 10 years ago for 
> this purpose also, but for Annettes reasons, have not gotten around to 
> using if to my cosutming ends.  I would LOVE to have discussion with 
> others of like mind.  Perhaps we could keep our costuming discussions 
> on this list because there are such good resources (and I myself love 
> to read other's posts even if they are outside my current focus.).  
> What if we precededed each of our equestrian posts with an EQ-as I 
> have done, and create a Yahoo group for all the other non-costume 
> related discussions.  (I'd love to shary horse stories, pictures etc.)
>
> Yeah!
>
> Sg
> Kahlara wrote:
>
>> Over the years I have found that most of my creative associations 
>> seem to have at least two or three similarities in other areas as 
>> well as the shared interest in which we first became aquainted.
>>    I have noticed several list members make reference to horses and 
>> riding. I ride and own horses also. I also have made various articles 
>> of riding clothing and costumes for shows over the years (to keep it 
>> close to list topic).
>>    Although each individual is different, there seems to be a range 
>> of interests that most creative people share to one degree or 
>> another. For my part...
>>    horses, cats (or pets in general), costuming, reading, theatre, 
>> good movies, classical and traditional music, gardening, other 
>> artistically creative endeavors such as panting or some type of 
>> crafting, etc. And of course, the list always exceeds the amount of 
>> time available to pursue said interests.
>>    Just a little generalizing. ;-)
>>    Annette M
>>
>>       ---------------------------------
>> Brings words and photos together (easily) with
>> PhotoMail  - it's free and works with Yahoo! Mail.
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>>
>
> _______________________________________________
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It's Sunday morning, and the caffeine has not yet percolated its way into my
brain, so here's a possibly silly question:

is it a good idea to starch the fabric of a ruff *before* or *after* you sew
it together?

Sheridan P.


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Shane & Sheridan wrote:
> It's Sunday morning, and the caffeine has not yet percolated its way into my
> brain, so here's a possibly silly question:
> 
> is it a good idea to starch the fabric of a ruff *before* or *after* you sew
> it together?

After.  If you want the lovely figure-eights to work out right, just sew 
a very tightly gathered band of fabric to the top of your neckband. 
Then soak it in liquid starch and proceed from there.  Full instructions 
of how I do mine are on my website at

http://www.faucet.net/costume/period/ruff.html

The thing is, every time you wash it, the starch all comes out.  So you 
don't want to have to take it all apart every time you have to wash and 
re-starch.  And you will want to wash it--they sit right next to the 
neck and are prey to "ring around the ruff."

Happy starching,
Melanie Schuessler

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As you will be able to quickly tell, the only thing costume related 
about this dish is it's name....of course, there too, there is something 
lacking.  This is an old Dutch recipe of lima & green beans.  I just 
think the name is hilarious, and was wondering if any of you might know 
how far back it goes??  I know I first heard of it back in the 70's....  
And for those of you wondering, it is actually very good.  I am not what 
you would call a Lima bean fan...and I could it bowls of this.

Feel free to respond off list if you feel the topic is too off!

Sg
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Subject: [h-cost] Re: EQ-Naggers and Clothes-was Equestrian costumers....
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My mare is an Andalusian/Arab cross and I am about ready to breed her to 
a full Andalusian.  I am not able to afford the current pure "Andy" 
breed, this is the closest I will be able to come.  My dream is to be 
able to make many different costumes to ride her with.  (I want an 
orange/black [which looks brown] shot taffeta Victorian, side-saddle 
habit  for sure).  My girlfriend has offered to help me make a complete 
hand Inkled tubular breast collar crupper, etc. for a more "Arabick-y" 
style.  I have fiddled with caprisons, making a "chair" sidesaddle etc.  
I am all over the place in time and country in my dreams...check this 
site out...http://www.kreml.ru/en/main/collection/museum/harness/.  (For 
the non-nagger costumer, there are some very cool "regular" costumes too.) 

The closest I have come to riding in costume is at some local SCA events 
in a linen tunic, schooling tights, and  a pair of Ariat Heritage 
packers!   Pretty sad considering my collection of fabrics and ideas.

Love this thread...p.s. I am in the middle of cooking a large historic 
meal today...but will post pictures of my naggers later....They are on 
my webpage somewhere already, but I can't find them!

Sg

Susan Data-Samtak wrote:

> I am also interested in other people's areas of interest in costumes, 
> if only because the people on this list are so knowledgeable and 
> willing to share.  I'm sure that I will NEVER attain the fabric 
> related skills of many people on this list, but it is so much fun to 
> see what others have accomplished.  Brightens up my day with these 
> beautiful things
>
> Sg- what type of horse did you buy and what type of costuming are you 
> looking to reproduce?
>
> I would also like to share horse stories with you folks.
>
> Susan
>

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Subject: [h-cost] European ancestors (was: Danish ancestors)
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On Sun, 12 Mar 2006, Bjarne og Leif Drews wrote:

> Yes in the end all you australian and american, would all be european
> origin.

Well, um, no, not really. 200 years ago, almost true in the US (but there
were still Native Americans and some Africans). Now add the East Asian,
South Asian, Middle Eastern, South American, Pacific Islander, etc. and
the US population is well on its way to being majority non-European --
can't remember the last time I heard a demographic prediction of what year
that would occur, but it's not far off.

Of course every such prediction makes sense only on paper, because in
reality intermarrying gives a lot of people here part-European part-other
ancestry.

Getting this back to costume: This came up on the list a few years ago,
when we were discussing the typical facial characteristics associated with
particular European historical populations, and how historic
costumes/headdress styles generally developed to flatter the dominant
facial "look" of the local population (e.g. Italian, Germanic, Russian,
Flemish) -- something especially true for Medieval and Renaissance periods
when regional populations were mostly homogeneous. In the US, there is no
dominant "look," and indeed many people here do not have features that can
be uniformly compared to any one particular historic population because
most of us have a mix -- even if it's a mix of various European heritages.

As someone pointed out at that time, the difference is noticeable when you
look at a group portrait of a European re-enactment group, when pretty
much everyone in the picture is from the same general gene pool, and it's
close to the same gene pool as the population they're re-enacting. Then
compare that with an American re-enactment group; even if everyone's
dressed to the same place/period, their faces show a huge variety of
features, colors, etc. It's something I've found that the Europeans take
for granted because they're used to looking at the same general type of
faces every day.

Yes, this is changing in much of Europe now, particularly in the larger
cities, but genetically the mixing is way behind what we see in the
States, and it takes a few generations to get a mix significant enough to
affect the overall visual look of a group. Often in a specific locally
based European re-enactment group you can pick out a couple of outliers --
in the American groups all the faces are different from all the others.

It is my costuming bane that I have a face that is Middle Eastern filtered
through Russian, which means I look best in Italian, ethnic Greek, and of
course Russian costume ... none of which I am remotely interested in. No,
I had to get interested in Franco-Flemish, me with the tiny forehead and
heavy dark brows and pointy chin...

--Robin

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There are hundreds and hundreds of fancy (and not so fancy) vintage and 
antique tablecloths, towels, tea towels, bedspreads, handkerchiefs, and 
linens of all sorts on eBay.  Embroidered, printed, crocheted, tatted, 
fringed, woven, plaid, striped, plain, and everything you can think of. 
  You can buy them individually or as part of a big lot, and in 
conditions ranging from perfect to awful.

I was buying embroidered tablecloths to make into skirts for awhile, at 
great prices, but after buying eight or so within a few days I gave up 
browsing the textiles.  There were just too many.  But if you look under 
Collectibles/Linens, Fabric and Textiles or Antiques, Textiles and 
Linens (the latter are generally pricier items), you'll never have to 
spend hours at a flea market again--just in front of your computer.

I had the sense to do a search on "tea towels," after I posted. Irish 
Linen tea towels appear to have been popular since the early 1970s, 
judging by the fact that some are dated (because they're printed with 
calendars for the year).  There are scads on eBay, though most are 
printed with very tacky designs.  I didn't find any William Morris ones 
(even though I've just worn out four in my kitchen, bought from museum 
catalogs at different times).  If anyone is interested, many of the 
towels are listed on eBay for about $5, and they are very effective as 
hand and dish towels.

I got three printed with Book of Kells designs which are a bit bright 
for my taste, but that will fade as they get beat up and washed every 
week (the reason why I passed up all the vintage embroidered ones 
listed--we use the towels heavily).  Also one printed with a picture of 
the Louvre (tea towels seem to be popular tourist items).

Then someone on h-costume, whose message I accidentally deleted, kindly 
sent me a link to the online store of the Country Dance and Song 
Society, where you can buy the Book of Kells towels:

http://www.cdss.org/sales/holiday.html

But if anyone knows anywhere in the US to get more William Morris tea 
towels (I did find some places in England), please let me know.

Fran
Lavolta Press
http://www.lavoltapress.com

Lloyd Mitchell wrote:
> Fran, the only time I have seen any that might be as you describe is at
> antique flea markets...such as Brimfield in Ma. 
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From h-costume-bounces@indra.com  Sun Mar 12 14:06:12 2006
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Subject: Re: [h-cost] Ruff
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Lovely site, Melanie. Your costumes are all wonderful. [Hey...why skip the  
18th century?]
 
Your ruff instructions are great too. I especially like your use of items  
just about anybody can get a hold of! Have you seen Jean Honnisette's ruff  
instructions? She "starches"
 
 and does the 8's BEFORE gathering to the neck band. But of course in  the 
period, this seems unlikely. It makes more sense to me to start with a  gathered 
ruffle and then manipulate it.
 
How did you determine how much yardage to use in the ruff? More would make  
bigger 8's, no? Would you need a goffering iron with a larger diameter?
 
 
Why did you attach the 2nd ruff to the neck of the shirt? If I were  you, I 
take the ruff and neckband off the shirt, put a new band on the shirt and  just 
baste them together to wear. That way washing is easier, fixing the ruff is  
easier, and you can wear the ruff elsewhere...and the shirt w/out a ruff.
 
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From h-costume-bounces@indra.com  Sun Mar 12 14:31:26 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Sun, 12 Mar 2006 20:31:26 +0100
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Hi,
I made one of those big mill stone ruffs years back, but that was before i 
had the pleassure of being educated by all the knolledged people on this 
list. I cut it in the theater cut, with large cirkles with a hole in the 
middle for the neck.
I sewed together all the cirkles 6 in all first, and then i starched it 
ironed it before i started to form the eights by hand and attatched all the 
pleats bit by bit. It was a very difficult job and i had a chair where the 
ruff rested while i made it.
It was the kind of ruff you se in the portraits by Rubens and Frans Hals. 
But now we know that even these large ones was made by yardage of fabric, 
and not cirkles :-(
And even worse, it collapsed few weeks later while exhibited in a cold damp 
room of an old manor house.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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I personally like to starch after it's constructed, then the starch doesn't 
break down when being handled and I can shape the ruff the way I like.

Kelly

----- Original Message ----- 
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 12:30 PM
Subject: [h-cost] Ruff


> It's Sunday morning, and the caffeine has not yet percolated its way into 
> my
> brain, so here's a possibly silly question:
>
> is it a good idea to starch the fabric of a ruff *before* or *after* you 
> sew
> it together?
>
> Sheridan P.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>And even worse, it collapsed few weeks later while exhibited in a cold damp

>room of an old manor house.

What a shame.  All that work for naught.  Did you get a picture before it
"melted"?
 Anne

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Thanks ! This is it!
Best Regards-
Monica

PS-- Where did you find this???

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Susan B. Farmer
Sent: Sunday, March 12, 2006 10:05 AM
To: Historical Costume
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
CenturySpanishpatterns


Quoting Sue Clemenger <mooncat@in-tch.com>:

> It sure doesn't show up in my book on Anguissola.  There are a couple of
> portraits of women in black, but neither is one of the Infantas (assuming
> you're referring to the daughters of Philip and Isabel...there don't seem
to
> be any in my book at all of Philip and Anne's children).  In addition,
there
> are several portraits of the two Infantas, but none of them have any
> attribute of being a "mourning" outfit.  In the portraits of the girls
when
> younger, they're wearing a dark, brocaded fabric.  In older portraits,
> they're wearing mostly black, but so it virtually every other adult from
the
> Spanish court.

I have to say this is the first time I'd ever seen this one
http://www.bildindex.de/bilder/fmlac10526_01a.jpg

I *really* want to know how to search that web site!

(Are you looking at the Perlingeri book?  I love that book -- I want a
copy!)

Susan (ska Jerusha)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From h-costume-bounces@indra.com  Sun Mar 12 15:17:05 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <20060312194940.RHXW4894.eastrmmtao01.cox.net@ANNESCOMPUTER>
Subject: Re: [h-cost] starching ruffs
Date: Sun, 12 Mar 2006 21:17:07 +0100
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Hi Anne,
Yes i did, but only a small paper photo, i tryed to make it better and 
bigger on a computer, with not a good result.
I made it to be worn with a purple dupioni silk wheelfarthingale dress i had 
made with a lot of pearl embroidery on the sleaves and stomacher. Its only 
to laugh at today, dupioni for a renaissance dress, but the museum was poor 
and could not spend money on this.
I received my Tonner Doll and i want to make it an embroidered 
wheelfarthingal dress, after the portrait of Queen Anne of Denmark at the 
Greenwich Museum.
Just have to find the right colour for the dress.

Bjarne
----- Original Message ----- 
From: "Anne Moeller" <ladyanne@quik.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 8:49 PM
Subject: RE: [h-cost] starching ruffs


>
>
>
>>And even worse, it collapsed few weeks later while exhibited in a cold 
>>damp
>
>>room of an old manor house.
>
> What a shame.  All that work for naught.  Did you get a picture before it
> "melted"?
> Anne
>
> -- 
> No virus found in this outgoing message.
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>
>
> _______________________________________________
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> 


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BTW, for those in the San Francisco area (or willing to travel, as some 
people do), the spring San Francisco Vintage Fashion Expo is being held 
on March 18 and 19.  Details on:

http://www.vintagefashionexpo.com/ve.htm

Fran
Lavolta Press
http://www.lavoltapress.com
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From: " Lalah" <lalahcatlady@NETSCAPE.COM>
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Subject: Re: [h-cost] Source for aesthetic style silk
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That is cruel!  There is a William Morris fabric in that lot that would be perfect for my bedroom drapes.  I only need twenty yards and it only runs $110.00 a yard.  Now if I ever win the lottery I know where to look for my fabric.  
Lalah, Never give up, Never surrender

--- alderweb@vaxxine.com wrote:

From: david webb <alderweb@vaxxine.com>
To: Historical Costume <h-costume@indra.com>
Cc:
Subject: [h-cost] Source for aesthetic style silk
Date: Sun, 12 Mar 2006 01:25:59 -0500

Greetings:

At $345 Canadian a yard - not even in metres! I'm glad I'm not interested 
in  doing anything in the aesthetic style, but it shure nuff is purty! 
"This rich silk fabric is based on an original made in England in the 
1880's. The document (original) colour is in a Robin's Egg blue on Cream, 
but it is offered in six other colours as well."

http://www.charlesrupert.com/traditional/1880to1900/aestheticsilk.html

This company has a wide variety of reproduction wallpapers and textiles  too.

Sheridan Alder

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From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] Ruff
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IMNTBHO, before
Sarah P.
----- Original Message ----- 
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 12:30 PM
Subject: [h-cost] Ruff


> It's Sunday morning, and the caffeine has not yet percolated its way into 
> my
> brain, so here's a possibly silly question:
>
> is it a good idea to starch the fabric of a ruff *before* or *after* you 
> sew
> it together?
>
> Sheridan P.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Ruff
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One of my ruffs is made from silk organza, and lace, it was pretty stiff 
before I starched it.  It is actually easier to work with IMHO than 
something soft and flimsy....
Having done it both ways I prefer something with substance.

Sg

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Date: Sun, 12 Mar 2006 17:59:18 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Ruff
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At 18:22 12/03/2006, you wrote:
>Shane & Sheridan wrote:
>>It's Sunday morning, and the caffeine has not yet percolated its way into my
>>brain, so here's a possibly silly question:
>>is it a good idea to starch the fabric of a ruff *before* or *after* you sew
>>it together?
>
>After.  If you want the lovely figure-eights to work out right, just 
>sew a very tightly gathered band of fabric to the top of your 
>neckband. Then soak it in liquid starch and proceed from 
>there.  Full instructions of how I do mine are on my website at
>
>http://www.faucet.net/costume/period/ruff.html
>
>The thing is, every time you wash it, the starch all comes out.  So 
>you don't want to have to take it all apart every time you have to 
>wash and re-starch.  And you will want to wash it--they sit right 
>next to the neck and are prey to "ring around the ruff."


If you use straw stiffener (millinery supplies) you stiffen it first, 
then form the eights and glue or sew them (glueing "is" authentic, or 
rather sticking with gum arabic IIRC). You don't wash, but clean with 
water, and re-stiffen with steam every time it goes limp. Useful for 
theatre, where you haven't time to do every ruff every time.

Suzi



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Date: Sun, 12 Mar 2006 15:23:28 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: looking for a painting (was:)RE: [h-cost] Re:16th
	CenturySpanishpatterns
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Thank you so much!
Your website is amazing!!!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of michaela
Sent: Saturday, March 11, 2006 10:06 PM
To: Historical Costume
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
CenturySpanishpatterns


> About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
> Museum of Women in the Arts  in Washington DC. There was a rather large
> painting of an Infanta (Spanish princess) who was the daughter of Philip
II.
> She was wearing mourning for her mother and was in all black-- including
her
> jewelry. Has anyone else ever seen this? It is supposed to be ion the
Prado,
> but I have never seen it reproduced anywhere.  If you know where I can
find
> this, please let me know! Thanks.


Let me know if its one of the paintings here:
http://sayaespanola.glittersweet.com

Otherwise I have a few books at the local fine arts library I can have a
hunt trhough and see if there is similar painting.

I have a few more portraits I haven't uploaded/linked to in my site so it
may be I have it on file and not on the web.

michaela de bruce
http://glittersweet.com



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Subject: [h-cost] RE: ruff
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I have made several ruffs using both before and after starching methods.  I
find if I prep the fabric by starching it and ironing it first, I get a
much better result when I start the pleating.  Its a method I read about in
Jean Hunniset's Stage to screen.
While I am not a scholar on the subject, I have done some prelim research
on it. 
http://thevilla.sccspirit.com/sisters/gwen_projects.htm

Gwenhwyfar 


Message: 4
Date: Sun, 12 Mar 2006 11:30:41 -0500
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
Subject: [h-cost] Ruff
To: "Historical Costume" <h-costume@indra.com>
Message-ID: <009801c645f2$83d64e20$0a02a8c0@nodomainset.bellcanada>
Content-Type: text/plain;	charset="iso-8859-1"

It's Sunday morning, and the caffeine has not yet percolated its way into my
brain, so here's a possibly silly question:

is it a good idea to starch the fabric of a ruff *before* or *after* you sew
it together?

Sheridan P.




------------------------------

Message: 5
Date: Sun, 12 Mar 2006 12:47:25 -0400
From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] Ruff
To: Historical Costume <h-costume@indra.com>
Message-ID: <003201c645f4$a4d2c110$04000100@THIRDFLOOR>
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IMNTBHO, before
Sarah P.
----- Original Message ----- 
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 12:30 PM
Subject: [h-cost] Ruff


> It's Sunday morning, and the caffeine has not yet percolated its way into 
> my
> brain, so here's a possibly silly question:
>
> is it a good idea to starch the fabric of a ruff *before* or *after* you 
> sew
> it together?
>
> Sheridan P.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



------------------------------

Message: 6
Date: Sun, 12 Mar 2006 12:22:38 -0600
From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost] Ruff
To: Historical Costume <h-costume@indra.com>
Message-ID: <441466EE.3080808@faucet.net>
Content-Type: text/plain; charset=us-ascii; format=flowed

Shane & Sheridan wrote:
> It's Sunday morning, and the caffeine has not yet percolated its way into
my
> brain, so here's a possibly silly question:
> 
> is it a good idea to starch the fabric of a ruff *before* or *after* you
sew
> it together?

After.  If you want the lovely figure-eights to work out right, just sew 
a very tightly gathered band of fabric to the top of your neckband. 
Then soak it in liquid starch and proceed from there.  Full instructions 
of how I do mine are on my website at

http://www.faucet.net/costume/period/ruff.html

The thing is, every time you wash it, the starch all comes out.  So you 
don't want to have to take it all apart every time you have to wash and 
re-starch.  And you will want to wash it--they sit right next to the 
neck and are prey to "ring around the ruff."

Happy starching,
Melanie Schuessler


Message: 9
Date: Sun, 12 Mar 2006 10:47:45 -0700
From: WickedFrau <wickedfrau@msn.com>
Subject: Re: [h-cost] Ruff
To: Historical Costume <h-costume@indra.com>
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One of my ruffs is made from silk organza, and lace, it was pretty stiff 
before I starched it.  It is actually easier to work with IMHO than 
something soft and flimsy....
Having done it both ways I prefer something with substance.

Sg


Message: 11
Date: Sun, 12 Mar 2006 17:59:18 +0000
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Ruff
To: Historical Costume <h-costume@indra.com>
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If you use straw stiffener (millinery supplies) you stiffen it first, 
then form the eights and glue or sew them (glueing "is" authentic, or 
rather sticking with gum arabic IIRC). You don't wash, but clean with 
water, and re-stiffen with steam every time it goes limp. Useful for 
theatre, where you haven't time to do every ruff every time.

Suzi



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Subject: [h-cost] Anguissola
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I also have a copy of Sofonisba Anguissola - First Great women Artist of 
the Renaissance which is the English translation of:
Sofonisba Anguissola - Femme Peintre de La Renaissance by Ilya Sandra 
Perlingieri  Liana Levi Editeur, Paris (1992)  pp.223, ills..

Has anyone seen the one by Flavio Caroli. Published in  Milan,1987. 
Hardcover (Italian) Pp. 255. With catalogue of 42 works and reproductions. 
List of 24 attributed works also reproduced. List of works mentioned in 
historical sources;

or the large monograph: SOFONISBA ANGUISSOLA E LE SUE SORELLE by GREGORI, 
M. (e altri) Corsico 1994. Bross., cm 28x24, pp 437, numer. ill. a colori e 
b/n

Thanks,
Beth Matney 

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Subject: RE: [h-cost] Ruff
Date: Sun, 12 Mar 2006 16:05:32 -0800
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If you put an extra layer on the inside of the ruff neckband, you can take
that off to wash and sew on again more easily.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Melanie Schuessler
Sent: Sunday, March 12, 2006 10:23 AM
To: Historical Costume
Subject: Re: [h-cost] Ruff


Shane & Sheridan wrote:
> It's Sunday morning, and the caffeine has not yet percolated its way 
> into my brain, so here's a possibly silly question:
> 
> is it a good idea to starch the fabric of a ruff *before* or *after* 
> you sew it together?

After.  If you want the lovely figure-eights to work out right, just sew 
a very tightly gathered band of fabric to the top of your neckband. 
Then soak it in liquid starch and proceed from there.  Full instructions 
of how I do mine are on my website at

http://www.faucet.net/costume/period/ruff.html

The thing is, every time you wash it, the starch all comes out.  So you 
don't want to have to take it all apart every time you have to wash and 
re-starch.  And you will want to wash it--they sit right next to the 
neck and are prey to "ring around the ruff."

Happy starching,
Melanie Schuessler

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To: Historical Costume <h-costume@indra.com>
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
	CenturySpanishpatterns
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Quoting Sue Clemenger <mooncat@in-tch.com>:

> Perlingeri it is! <weg> I lucked into getting one 12 or 13 years ago at an
> SCA event (Estrella War)  At the time, I was heavily into late 16th century
> clothing, so finding it was like finding "the god book," especially since it
> was some time before QEUnlocked came out.   And Anguissola being a woman
> made the whole thing that much sweeter.

Lucky you!  It's on my Amazon Wish List ...  and I get to keep the
Libraries copy until I graduate!  :-D  My other Favorite Artist Book is
the one on Lavinia Fontana by Murphy.

> My oldest cat is named "Sofi," after the artist, but I've given up trying to
> explain it to non-Ren geeks ;o)  (Kitty in question is striped, with a white
> smudge of "paint" on her nose).

If I hadn't been Jerusha for so many years, I would have been so tempted
to choose either Sofonisba or Artemesia for a name.

> I *still* would like to make every dress in that book!  I love the variety
> of Spanish and Italian styles, and the paintings as portraits--it's
> fascinating to look and see real people, if that makes sense.  I'm not an
> art historian, so some of the finer points of the way this hand was painted,
> or particular attributions of color choices, etc. escape me entirely, but
> it's a wonderful book for the biography and the paintings, even so!

Oh, yeah.  Have you seen the "new" book on Eleanor of Toledo (Moda a
Firenze)?  More gorgeous paintings -- most of which I had *never* seen
before!

Jerusha
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] Anguissola
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Quoting Beth and Bob Matney <bmatney@alltel.net>:

> I also have a copy of Sofonisba Anguissola - First Great women Artist 
> of the Renaissance which is the English translation of:
> Sofonisba Anguissola - Femme Peintre de La Renaissance by Ilya Sandra 
> Perlingieri  Liana Levi Editeur, Paris (1992)  pp.223, ills..
>
> Has anyone seen the one by Flavio Caroli. Published in  Milan,1987. 
> Hardcover (Italian) Pp. 255. With catalogue of 42 works and 
> reproductions. List of 24 attributed works also reproduced. List of 
> works mentioned in historical sources;
>
> or the large monograph: SOFONISBA ANGUISSOLA E LE SUE SORELLE by 
> GREGORI, M. (e altri) Corsico 1994. Bross., cm 28x24, pp 437, numer. 
> ill. a colori e b/n

OOh, no.  Never seen the other two!

Jerusha (adding them to my list!)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10603121207240.12826-100000@shell.nightowl.net>
Subject: Re: [h-cost] European ancestors (was: Danish ancestors)
Date: Sun, 12 Mar 2006 18:40:24 -0700
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You looked very "Eastern European/Jewish" to me when I met you a few years
ago--think it's your darkish coloring, and all that hair, of which I'm
*still* jealous. <g>
Although not of Scandinavian extraction in the *least,* I did grow up in an
area settled by a lot of Norwegians, and my family (of generally British
Isles extraction ranging from 1 to 4 centuries in the US) did NOT look like
my neighbors, who tended to be tall, very blonde, and with that fair skin
blondes get.  With me, it was even more noticeable than the rest of the
family, as I seem to have reverted to some odd combination of recessives
(very fair skin with a strong tendency to freckle and blush, blue eyes and
dark hair).  It wasn't until I went to Ireland a few years ago, that I
actually saw a lot of people whom I resembled--it was both odd, and really
cool, to see folks with the same kind of coloring, height, etc.  I figure
I'm just a genetic quirk combining various Irish ancestors (and perhaps the
Scots side as well).
A couple of friends in my local SCA group are half generic American and half
Syrian, and the range of skin tones, hair color/type, and other facial
features in the family is actually quite various.
I've never figured out quite what ethnic type I would best suit, historical
costuming-wise.  My particular genetic pool wasn't much painted or
portraited ;o).  The closest I've come is some of those 16th c. Flemish
marketwomen in the genre paintings.
--Sue

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 11:28 AM
Subject: [h-cost] European ancestors (was: Danish ancestors)


>
> On Sun, 12 Mar 2006, Bjarne og Leif Drews wrote:
>
> > Yes in the end all you australian and american, would all be european
> > origin.
>
> Well, um, no, not really. 200 years ago, almost true in the US (but there
> were still Native Americans and some Africans). Now add the East Asian,
> South Asian, Middle Eastern, South American, Pacific Islander, etc. and
> the US population is well on its way to being majority non-European --
> can't remember the last time I heard a demographic prediction of what year
> that would occur, but it's not far off.
>
> Of course every such prediction makes sense only on paper, because in
> reality intermarrying gives a lot of people here part-European part-other
> ancestry.
>
> Getting this back to costume: This came up on the list a few years ago,
> when we were discussing the typical facial characteristics associated with
> particular European historical populations, and how historic
> costumes/headdress styles generally developed to flatter the dominant
> facial "look" of the local population (e.g. Italian, Germanic, Russian,
> Flemish) -- something especially true for Medieval and Renaissance periods
> when regional populations were mostly homogeneous. In the US, there is no
> dominant "look," and indeed many people here do not have features that can
> be uniformly compared to any one particular historic population because
> most of us have a mix -- even if it's a mix of various European heritages.
>
> As someone pointed out at that time, the difference is noticeable when you
> look at a group portrait of a European re-enactment group, when pretty
> much everyone in the picture is from the same general gene pool, and it's
> close to the same gene pool as the population they're re-enacting. Then
> compare that with an American re-enactment group; even if everyone's
> dressed to the same place/period, their faces show a huge variety of
> features, colors, etc. It's something I've found that the Europeans take
> for granted because they're used to looking at the same general type of
> faces every day.
>
> Yes, this is changing in much of Europe now, particularly in the larger
> cities, but genetically the mixing is way behind what we see in the
> States, and it takes a few generations to get a mix significant enough to
> affect the overall visual look of a group. Often in a specific locally
> based European re-enactment group you can pick out a couple of outliers --
> in the American groups all the faces are different from all the others.
>
> It is my costuming bane that I have a face that is Middle Eastern filtered
> through Russian, which means I look best in Italian, ethnic Greek, and of
> course Russian costume ... none of which I am remotely interested in. No,
> I had to get interested in Franco-Flemish, me with the tiny forehead and
> heavy dark brows and pointy chin...
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: looking for a painting (was:)RE: [h-cost] Re:16th
	CenturySpanishpatterns
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Quoting monica spence <monicaspence@optonline.net>:

> Thanks ! This is it!
> Best Regards-
> Monica
>
> PS-- Where did you find this???

I think the link to this was on the glittersweet page.  Basically, I did
a Google Image Search for "Anguissola Infanta" and that was the only one
that was all in black!  I know that there's some gorgeous paintings of
her on the bildindex site -- I just don't know how to find them!  I've
got a thumbnail page printed, but I can't get "back to that page."

*sigh*

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: looking for a painting (was:)RE: [h-cost]
	Re:16thCenturySpanishpatterns
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I've seen it talked about, but not met in person, if you know what I mean.
I'm on a lean-and-mean budget for a couple of months, but hope to buy it
when things even out....
--Sue

----- Original Message -----
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 5:56 PM
Subject: Re: looking for a painting (was:)RE: [h-cost]
Re:16thCenturySpanishpatterns


> Oh, yeah.  Have you seen the "new" book on Eleanor of Toledo (Moda a
> Firenze)?  More gorgeous paintings -- most of which I had *never* seen
> before!


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Subject: [h-cost] Show and Tell: Take Two
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A while ago I had posted some photos of a couple of my (mostly) finished
projects. I couldn't seem to get the site I was using to upload more than
the two pictures. I'm trying out the Kodak site instead. (Someone had set up
an album at Christmas time just for H-costume, where is that one again? It
might be easier...)

Sheridan P.

> http://www.kodakgallery.com/I.jsp?c=6ru1o2u.m957jna&x=1&y=-x8qkr7
>
> If you'd like to save this album, just sign in, or
> if you're new to the Gallery, create a free account.
> Once you've signed in, you'll be able to view this
> album whenever you want and order Kodak prints of
> your favorite photos.
>
> Enjoy!
>
> Instructions: Click view photos to begin. If you're
> an existing member you'll be asked to sign
> in. If not, you can join the Gallery for free.
> http://www.kodakgallery.com/Register.jsp
>
> Questions? Visit http://help.kodakgallery.com.


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: looking for a painting (was:)RE: [h-cost]
	Re:16thCenturySpanishpatterns
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Quoting Sue Clemenger <mooncat@in-tch.com>:

> I've seen it talked about, but not met in person, if you know what I mean.
> I'm on a lean-and-mean budget for a couple of months, but hope to buy it
> when things even out....

I know *exactly* what you mean!  The one copy that I've fondled to date
I saw through InterLibrary Loan.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] RE: layers  still: Ruff
Date: Sun, 12 Mar 2006 21:33:23 -0600
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-----Original Message-----
<<<I'm trying to picture how this could work with three layers.  The
innermost layer of any loop is always the outermost layer of the next
loop.  Are you picturing two lighter weight layers with a heavier layer in
between?>>>

*yes

As far as extra fullness in some layers and not others, I can't see how it
could work.  If you had two lightweight layers with a heavier one
between, and both lightweight layers had more fullness than the heavier
layer, you'd end up with too much on the outside of every loop.

Try your method in paper and see if it works.

I think the lightweight vs. heavier layers in the painting may be an
illusion and that Occam's Razor is our friend here.

Cheers,
Melanie

*I'll try it when I get a chance. Mother nature seems to want my attention.
Another hail and tornado storm headed my way.:P

De


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Show and Tell: Take Two
Date: Sun, 12 Mar 2006 23:09:20 -0500
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On Sunday 12 March 2006 9:21 pm, Shane & Sheridan wrote:
> A while ago I had posted some photos of a couple of my (mostly) finished
> projects. I couldn't seem to get the site I was using to upload more than
> the two pictures. I'm trying out the Kodak site instead. (Someone had set
> up an album at Christmas time just for H-costume, where is that one again?
> It might be easier...)

It won't let you see anything until you sign up for a free account.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] European ancestors (was: Danish ancestors)
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On Sun, 12 Mar 2006, Sue Clemenger wrote:

> You looked very "Eastern European/Jewish" to me when I met you a few
> years ago--think it's your darkish coloring, and all that hair, of
> which I'm *still* jealous. <g>

Partly because of the strong cultural tendency for
marriage-within-the-faith, I'm 100% Russian Jewish (so figure some distant
Middle Eastern roots way back somewhere). But I'm only second-generation
American. My kids, another generation into the American mixing bowl, are
half Ashkenazic, with the other half being mostly English with some French
Canadian and who-knows-what mixed in. Two completely incompatible looks --
when you see my parents and my in-laws together, you can immediately see
they're from different genetic pools. But I can see elements of both in my
kids' facial features. I daresay there's no historic "look" that quite
matches that!

--Robin

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-----Original Message-----
<<<Yes in the end all you australian and american, would all be european origin.>>>>

*Not quite. There are a those with indigenous family genes mixed in. :)

<<<Wish i had the warmth here as they have in Australia. We have had frost for months now, and we long to get some spring here ................ My kitchen where i sit with the puter, is not heated, so you dont want to stay here very long.

Bjarne>>>>

*For the past two day my state/USA has been going through it's version of the rites of Spring. Hail from pea size to softball size and today there was approximately 14 tornadoes and a few funnels. Luckily I'm fine but will be seeing the insurance people about a new windshield and if the new texturing on the hood, trunk and roof can be smoothed out Think 5 minutes downpour, nonstop and switch the drops with hail and you might get a picture of how much texturing is there. :P The most of the gutter screens are ripe to shreds. Had a plastic bucket outside, flipped over. It now has 2" holes in it. The outdoor lounge chairs covering is shredded. I have never seen hail this bad in my area. Tornadoes, yes but hail, no.
De 



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Flemish (was RE: [h-cost] tippets ...
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I was just going through some stacked-up e-mail -- I tend to catch up in
fits and spurts, so sometimes miss things. Plus I have dial-up, so
anything that requires lots of image-heavy downloads gets set aside till I
have *time*.

Anyway, Susan posted lots of picture links. I haven't looked at all of
them but of the ones I did see -- yes, as you indicated, lots of Flemish
15th-16th c. fantasy. I took so many pictures of these sorts of weird
dresses in Belgium! In addition to the fact that they're all on
religious/historic/symbolic figures, it's also useful to note that you
rarely find two that are anywhere near alike, which makes it even more
obvious that these aren't meant to represent fashionable wear! The
"regular" clothing (on portraits, and in genre scenes) tends to be
cast-of-a-mold with relatively small differences in features.

Rule of thumb: The rarer it is, the less likely to be real.

http://img.photobucket.com/albums/v420/hitomi_gehrig/14th%20Century/Roncolo6.gif

> > I thought that the dress has a front panel because of the white dots running
> > down the "seam".
> 
> I thought that they were buttons!

The white dots are almost certainly buttons. I have no idea why she's all
stripey, but from her headgear, I wouldn't lay bets that she's a real
person, so I'd withhold judgement on this one without knowong the context.
Of course, if she's Italian, there's no telling.

Another rule of thumb: It's a bad idea to try to reproduce a costume from
an artwork without knowing something about the artwork.

> Virgin with Saints (Barbara & Catherine of Alexandria)
> http://www.wga.hu/art/b/benson/lou_135.jpg

Not too weird, these. Catherine's outfit pays lip service to the
by-now-required surcote but still is an attempt to make her look within
range of the accepted fashion. The Barbara is quite passable but very rich
as befits the princess she is; the fur oversleeves might be over the top.
Headdress is all symbolic on both.

> and one of my personal favorites -- dig the pink "3 piece suit" on the
> saint in the right panel
> http://www.wga.hu/art/m/master/zunk_fl/16_paint/2/05adorat.jpg

I think that's meant to be a dress that's hitched up at the waist/hip and
bloused over. Still dripping with fantasy/foreign elements.

> Elijah & the Widow of Zarapeth -- dig the sleeves
> http://www.wga.hu/art/m/master/zunk_fl/16_paint/1/04adora2.jpg

I think she's pretty realistic. I've seen those sleeves elsewhere. I think
I saw this one in person, or one much like it, and took pictures -- not
for the sleeve, but for the fitting at the back waist. IIRC, there's a
horizontal seam at the top of the pleats, but it sort of comes out of
nowhere -- it doesn't go beyond the pleated area. I would have to find the
slides to confirm that, though. This is not the only gown I saw that on;
it's some sort of technique for fitting over the rump. I can think of two
or three ways to do it.

> again symbolic/allegrical, but you got 4 "normal" gowns and that odd
> thing in the lower left
> http://www.goldsword.com/sfarmer/Paintings/flemish_CharlesBold.jpg

None of these women are "normal," though the one at the lower right looks
realistic.  The one on the throne is a rather straighforward queenly image
plus a sword -- I think she's Justice. Oh yes, there it is above her head,
the first word in the inscription.

As for the four women upholding the coat-of-arms: See those words written
on their skirts? Those are labels, so you know what characteristic or
attribute they stand for. They are too dark to read as-is, but playing
around in a photo editor, I think the upper left one might be "Veritas,"
and the lower left is sage-something. The lower right one is clear:
Sobrietas, or Sobriety. Now we know why she has no fantastical elements to
her dress!

--Robin

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Subject: [h-cost] Monogram alphabets  "Regency"
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Anybody point me at a source for "Regency" alphabets for embroidering 
monograms on shirts? (I have a few from "La Belle Assemblee" but they 
are mostly later, and more suitable for ladies' handkerchiefs as they 
are rather fancy.) The date of the costume is actually 1808, so I 
know it is not technically Regency,. I could make one up as I go 
along, but it would be really good to have a source. (It might give 
me an excuse to use my new tambour equipment I bought in a rush after 
the new 18th century embroidery book turned up!!)

Suzi


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 But I can see elements of both in my
> kids' facial features. I daresay there's no historic "look" that quite
> matches that!
>
> --Robin

I imagine you are right!

My grandmother was half English, half Norwegian, and I look just like 
her--my hair is even turning the same beautiful silver hers did, instead of 
just gray--so, whatever look that combo produces is me, though in truth, I'm 
definitely a genetic mutt. I have just enough Native America filtered in 
from my mom's side to make me turn coppery when I tan.

My husband, on the other hand, is 100% Roman Catholic Polish, and only 
second generation American. The boys look mostly like him, with just traces 
of me in their features. I'm thinking of researching Polish garb for them, 
because I think it would suit them, though the Skinny Monkey Boy prefers the 
Neanderthal look--as little clothing as possible! LOL.

Dianne 

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AlbertCat@aol.com wrote:
> Lovely site, Melanie. Your costumes are all wonderful. [Hey...why skip the  
> 18th century?]

:)  I have one 18th-c that I made in high school, so it's not quite up 
to par with the rest of what's up there.  I need to make a new one for 
teaching costume history, but other things are higher priority right now.

> Your ruff instructions are great too. I especially like your use of items  
> just about anybody can get a hold of! Have you seen Jean Honnisette's ruff  
> instructions? She "starches" 
>  and does the 8's BEFORE gathering to the neck band. But of course in  the 
> period, this seems unlikely. It makes more sense to me to start with a  gathered 
> ruffle and then manipulate it.

Me too.  I hadn't looked at Hunnisett for ruffs because she focuses on 
theatrical applications.  I've just pulled her out, and she gives 
several good versions for the stage.  It's true that most theatres can't 
do all the restarching and setting that I do on mine.

She shows several that are box-pleated into the band instead of 
gathered, and I did actually pleat one of my early ones thinking that 
that would make it easier to figure out where the figure-eights would 
go.  It just makes it much harder to starch!  The gathers (or really 
really tiny cartridge pleats) are really necessary so that the fullness 
can spring almost immediately from tightly gathered into the neckband to 
spread wide into the figure-eights.  These gathers and the "springing" 
action are quite visible in some portraits from the second half of the 16th.

The first ruff I did was theatrical-style, made with plastic horsehair 
braid and cartridge-pleated to a neckband.  Then I made a doublet with a 
standing collar and found that they didn't get along because the length 
of my neck was taken up with the ruff band.

The way I do my ruffs now is not only more accurate, it works better. 
With all of the ruff springing from the top of the band, it sits nicely 
behind a standing collar, and since I dry them upside-down after 
starching, they cradle the face like those in the portraits rather than 
just sitting out flat.

> How did you determine how much yardage to use in the ruff?

I use math!  I make some sample figure-eights of the size I want them to 
be, and then see how much flat fabric it takes to make, say, a 
three-inch-long section of figure-eights.  Then I decide how wide the 
ruff will be from neck edge to hem edge and work from my neck 
circumference to find the ruff circumference.  If the ruff is, for 
example, 36" around, and it takes 12" of flat fabric to make a 3" 
section of figure-eights, I'll need 144" of fabric.

>    More would make bigger 8's, no? Would you need a goffering iron with a 
larger diameter?

Yes.  I have two of them.  The trick is figuring out just how big the 8s 
should be each time you starch the things.  If you make them too tall, 
there will be spaces between them because there won't be enough of them 
to make it all the way around.

> Why did you attach the 2nd ruff to the neck of the shirt? If I were  you, I 
> take the ruff and neckband off the shirt, put a new band on the shirt and  just 
> baste them together to wear. That way washing is easier, fixing the ruff is  
> easier, and you can wear the ruff elsewhere...and the shirt w/out a ruff.

True.  It was an experiment, and we do know that early ones were 
attached.  But ones of that size, probably not, and I wouldn't do it 
again.  It makes it much harder to restarch.

Cheers,
Melanie




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Sharon at Collierfam.com wrote:
> If you put an extra layer on the inside of the ruff neckband, you can take
> that off to wash and sew on again more easily.

Yes, but the tops of mine also get dirty where they touch my chin, as I 
unfortunately have oily skin.  Plus the shaping of the starch starts to 
"break down" after a few wearings just from getting bashed about hugging 
people, leaning back against things, and the exigencies of travel.  I do 
have a nice "case" for carrying them in, but starch is a temporary thing.

It just makes me appreciate the hard work of all those starchers in the 
16th and 17th centuries!

Now I'm curious:  how many people actually starch their ruffs after 
they're made like I do?

Melanie Schuessler
http://www.faucet.net/costume

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Greetings!

I am new to the list. I have a BFA in a theater from the University of 
Georgia (US) in both performance and costume design. I went on into 
computer science, but have continued costuming, mostly in community 
theater settings.

I have a question about the fabric/material used in the Beham "Portrait 
of a Man", German/Bavarian, 1529. My original guess was a velvet, but 
looking closer at the image, especially the cut-work in the trim and 
collar, I have begun wondering if this was a suede of some kind. I am 
curious as to what fabrics would be likely.

Here is a good link to the portrait. Clicking on the image brings up a 
larger view that can go up to 200% of the image to see more of the detail.
http://www.wga.hu/html/b/beham/barthel/portrait.html

Thanks!
Lonnie




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From h-costume-bounces@indra.com  Mon Mar 13 08:39:38 2006
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Greeting from a fellow UGA grad. I have MFA in Fabric Design with a minor in 
computer art. 1997 grad. Miss it too. I'm now in PA... waaayyy up north. I 
miss the warmth of the south but not the tornados.
Where are you?
----- Original Message ----- 
From: "Lonnie D. Harvel" <ldh@ece.gatech.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 8:26 AM
Subject: [h-cost] Greetings and question about a painting


>
> Greetings!
>
> I am new to the list. I have a BFA in a theater from the University of 
> Georgia (US) in both performance and costume design. I went on into 
> computer science, but have continued costuming, mostly in community 
> theater settings.
>
> I have a question about the fabric/material used in the Beham "Portrait of 
> a Man", German/Bavarian, 1529. My original guess was a velvet, but looking 
> closer at the image, especially the cut-work in the trim and collar, I 
> have begun wondering if this was a suede of some kind. I am curious as to 
> what fabrics would be likely.
>
> Here is a good link to the portrait. Clicking on the image brings up a 
> larger view that can go up to 200% of the image to see more of the detail.
> http://www.wga.hu/html/b/beham/barthel/portrait.html
>
> Thanks!
> Lonnie
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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I am on the research faculty at Georgia Tech, but a couple of years ago, 
my wife and I moved back to Athens, GA (location of UGA for the 
non-alumni). A bit of a commute, but I don't go in to campus every day.

Lonnie,
p.s. I graduated with the BFA in 1985.

Becky wrote:

> Greeting from a fellow UGA grad. I have MFA in Fabric Design with a 
> minor in computer art. 1997 grad. Miss it too. I'm now in PA... 
> waaayyy up north. I miss the warmth of the south but not the tornados.
> Where are you?
> ----- Original Message ----- From: "Lonnie D. Harvel" 
> <ldh@ece.gatech.edu>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, March 13, 2006 8:26 AM
> Subject: [h-cost] Greetings and question about a painting
>
>
>>
>> Greetings!
>>
>> I am new to the list. I have a BFA in a theater from the University 
>> of Georgia (US) in both performance and costume design. I went on 
>> into computer science, but have continued costuming, mostly in 
>> community theater settings.
>>
>> I have a question about the fabric/material used in the Beham 
>> "Portrait of a Man", German/Bavarian, 1529. My original guess was a 
>> velvet, but looking closer at the image, especially the cut-work in 
>> the trim and collar, I have begun wondering if this was a suede of 
>> some kind. I am curious as to what fabrics would be likely.
>>
>> Here is a good link to the portrait. Clicking on the image brings up 
>> a larger view that can go up to 200% of the image to see more of the 
>> detail.
>> http://www.wga.hu/html/b/beham/barthel/portrait.html
>>
>> Thanks!
>> Lonnie
>>
>>
>>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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> _______________________________________________
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From h-costume-bounces@indra.com  Mon Mar 13 08:52:04 2006
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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Greetings and question about a painting
In-reply-to: <441572FB.1010608@ece.gatech.edu>
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Hi Lonnie and welcome!
I'm a theatre person too (BA and MA in theatre costume), and pretty new to
this list. I'm familiar with this painting-- I do 16th C. Clothing in the
SCA-- so here's my advice:

I think the doublet drapes too well in the sleeve to be suede. Looks like
velvet to me-- you might try heavy cotton velvet, not that awful acetate
velvet that they sell for clothing , to reproduce this. Make sure there is
no plastic backing on the fabric if you use upholstery velvet. The person
wearing it will just die under the lights!

Best Regards-
Monica Spence
(Catriona MacDuff in the SCA)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lonnie D. Harvel
Sent: Monday, March 13, 2006 8:26 AM
To: Historical Costume
Subject: [h-cost] Greetings and question about a painting



Greetings!

I am new to the list. I have a BFA in a theater from the University of
Georgia (US) in both performance and costume design. I went on into
computer science, but have continued costuming, mostly in community
theater settings.

I have a question about the fabric/material used in the Beham "Portrait
of a Man", German/Bavarian, 1529. My original guess was a velvet, but
looking closer at the image, especially the cut-work in the trim and
collar, I have begun wondering if this was a suede of some kind. I am
curious as to what fabrics would be likely.

Here is a good link to the portrait. Clicking on the image brings up a
larger view that can go up to 200% of the image to see more of the detail.
http://www.wga.hu/html/b/beham/barthel/portrait.html

Thanks!
Lonnie




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Has anyone here ever ordered from this company? "Cluny Lace Co, Ltd." 
Their laces look very nice.  I am about to do a project requiring
large amounts of lace trim and I am looking for a good source.

http://www.clunylace.com/index.htm

--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Has anyone here ever ordered from this company? "Cluny Lace Co, Ltd." 
Their laces look very nice.  I am about to do a project requiring
large amounts of lace trim and I am looking for a good source.

http://www.clunylace.com/index.htm

--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

_______________________________________________
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Subject: Re: [h-cost] Monogram alphabets  "Regency"
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In a message dated 3/13/2006 6:46:03 A.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

Anybody  point me at a source for "Regency" alphabets for embroidering 
monograms on  shirts? 


Men's shirts, as well as women's body linen and household linens, were  
generally marked with what is called "marking stitches."  This is basically  little 
tiny cross stitches, kind of like counted thread stitching, and consist  of 
the person's initials and perhaps a number, if you have more than 1.   You can 
probably find a graph for these, but they are easy to work out  yourself.  
They didn't go in for fancy monogramming--at least, I have never  seen any.
 
Ann Wass
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Medieval clerical underwear
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Below forwarded from another list. I could swear we've talked about this
before -- it's in one of the monastic rules, I think, perhaps the passage
that mentions "femoralia" that gets brought up every so often? Anyone have
a source?


---------- Forwarded message ----------

I think that medieval monastic legislation on dress often specified that
underwear had to be worn by monks or friars when going outside the
monastery: i.e. there was a pragmatic concern for modesty when travelling
about, which would not apply, of course, at burial. I've just looked in
Giancarlo Rocca, ed., La sostanza dell'effimero: gli abiti degli ordini
religiosi in occidente (Rome: Edizioni Paoline, 2000) for verification,
but without success. Someone else may have a source to hand.

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From: monica spence <monicaspence@optonline.net>
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Subject: [h-cost] New Topic:  drawstring necklines on chemises
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Hi All-
I subbed as the instructor for a Clothing History class a couple of weeks
ago. One of the instructors notes stated that the ruff was a "descendant" of
a chemise with a drawstring neck. I have been a costumer since I was 12 (oh,
boy am I dating myself), with a BA and MA in Theatre costume and 18 years of
16th C. clothing research in the SCA that resulted in a Laurel-- and now I
teach fashion on the college level, so I guess I'm pretty intense about my
clothing....

Anyway I have never seen anything about a drawstring that is Medieval or
Renaissance. As a matter of fact something I read said it was the result of
the
"I need 100 chemises fast" mindset of the original Ren Faires. The chemises
I have seen--- and this is only in paintings, mind you-- show no indication
of a drawstring in the neck-- either a high neckline or low neckline.

Can anyone help me on this? My professor friend has said she found a
reference in "several books" but is more than willing to look at what I find
, and change her lecture, as necessary. We both hate the idea of
disseminating incorrect information to students.

Thanks a bunch--
Monica Spence
(Catriona MacDuff in the SCA)


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Subject: Re: [h-cost] Greetings and question about a painting
Date: Mon, 13 Mar 2006 07:32:36 -0700
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Could be either, I think.  Slashing wasn't exactly unknown on woven fabrics
<g>, but there are a couple of doublets in _Patterns of Fashion_ that are
made, at least in part, of suede and/or leather.
It could be velvet or another piled fabric, or really, really nice wool
(given that this fellow isn't an aristocrat), OR leather.  Think you'd have
to experiment with drape and whatnot....
--Sue

----- Original Message -----
From: "Lonnie D. Harvel" <ldh@ece.gatech.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 6:26 AM
Subject: [h-cost] Greetings and question about a painting


>
> Greetings!
>
> I am new to the list. I have a BFA in a theater from the University of
> Georgia (US) in both performance and costume design. I went on into
> computer science, but have continued costuming, mostly in community
> theater settings.
>
> I have a question about the fabric/material used in the Beham "Portrait
> of a Man", German/Bavarian, 1529. My original guess was a velvet, but
> looking closer at the image, especially the cut-work in the trim and
> collar, I have begun wondering if this was a suede of some kind. I am
> curious as to what fabrics would be likely.


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Subject: [h-cost] Re: Greetings and question about a painting
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Hi Lonnie,

Welcome to the List. :-)

Im apt to lean toward wool for this one. It doesn't
have the typical luminosity that silk velvets would
have had at the time and the hand of the fabric looks
pretty dense. As to the pinking though, any fabric
will take that kind of decoration. It's a matter of
how well it will stand up to regular abuse. A
judicious application of an adhesive on the back side
before pinking will help just about anything endure
abuse a little longer.
Interesting though how it appears that his smock looks
like it could be red. That's vanishingly rare.
Im wondering where the closure is? Back seems
illogical for men - perhaps down the far side? The
collar looks to be hanging asymmetrically.

Kathy

> I have a question about the fabric/material used in
> the Beham "Portrait 
> of a Man", German/Bavarian, 1529. My original guess
> was a velvet, but 
> looking closer at the image, especially the cut-work
> in the trim and 
> collar, I have begun wondering if this was a suede
> of some kind. I am 
> curious as to what fabrics would be likely.

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Date: Mon, 13 Mar 2006 14:24:44 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Monogram alphabets  "Regency"
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At 14:01 13/03/2006, you wrote:
>
>In a message dated 3/13/2006 6:46:03 A.M. Eastern Standard Time,
>suzi@suziclarke.co.uk writes:
>
>Anybody  point me at a source for "Regency" alphabets for embroidering
>monograms on  shirts?
>
>
>Men's shirts, as well as women's body linen and household linens, were
>generally marked with what is called "marking stitches."  This is 
>basically  little
>tiny cross stitches, kind of like counted thread stitching, and consist  of
>the person's initials and perhaps a number, if you have more than 
>1.   You can
>probably find a graph for these, but they are easy to work out  yourself.
>They didn't go in for fancy monogramming--at least, I have never  seen any.


Thank you Ann - I should have remembered that. Having a bit of a 
ditzy morning! You are right, I can work that out by myself.

Suzi


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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Obsessed with underwear
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Hard not to seem fetishistic when one has such a
preoccupation with what goes on under one's skirts.
;-)

I'm doing a bit of byproduct research at the moment
and can't figure out why there is such a clearly
understood, but as-of-yet not terribly well supported
belief that English women didn't wear underwear for,
at the very least the 1500-1600 block of time. They
were worn at other points in time - bikini type appear
in illuminations through the middle ages. All over
continental Europe at various periods they were the
norm. Thus far I have tracked the usage like this:
>From the Middle East to Spain,
>From Spain to Italy,
>From Italy to France,
and only until after the French Revolution, does
England cave in and cover up. (Or so I have found
without sources thus far)
Best I can find right now are two implied statements
from Fynes Morryson and Samuel Pepys. Neither actually
out right say "English women don't wear underwear",
the implication is through their reaction to
continental women that do. Just where is this coming
from???


Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Date: Mon, 13 Mar 2006 14:32:46 +0000 (GMT)
From: Lena <lenastrid@yahoo.com>
Subject: Re: [h-cost] Medieval clerical underwear
To: Historical Costume <h-costume@indra.com>
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I have that one somewhere. I'll go look in my office
sometime in the week. I'm moving house right now, but
I'm fairly certain I know where those papers should
be.

/Lena


--- Robin Netherton <robin@shell.nightowl.net> wrote:

> 
> Below forwarded from another list. I could swear
> we've talked about this
> before -- it's in one of the monastic rules, I
> think, perhaps the passage
> that mentions "femoralia" that gets brought up every
> so often? Anyone have
> a source?
> 
> 
> ---------- Forwarded message ----------
> 
> I think that medieval monastic legislation on dress
> often specified that
> underwear had to be worn by monks or friars when
> going outside the
> monastery: i.e. there was a pragmatic concern for
> modesty when travelling
> about, which would not apply, of course, at burial.
> I've just looked in
> Giancarlo Rocca, ed., La sostanza dell'effimero: gli
> abiti degli ordini
> religiosi in occidente (Rome: Edizioni Paoline,
> 2000) for verification,
> but without success. Someone else may have a source
> to hand.
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Subject: Re: [h-cost] Greetings and question about a painting
References: <232.876aa4a.3145cb02@aol.com> <441572FB.1010608@ece.gatech.edu>
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A nice wool works.
I have made this one.
Unfortionally I don't have a good picture of it.
http://www.deredere.dds.nl/16thcent/16woman/IF3.jpg


Sue Clemenger wrote:

>Could be either, I think.  Slashing wasn't exactly unknown on woven fabrics
><g>, but there are a couple of doublets in _Patterns of Fashion_ that are
>made, at least in part, of suede and/or leather.
>It could be velvet or another piled fabric, or really, really nice wool
>(given that this fellow isn't an aristocrat), OR leather.  Think you'd have
>to experiment with drape and whatnot....
>--Sue
>
>----- Original Message -----
>From: "Lonnie D. Harvel" <ldh@ece.gatech.edu>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Monday, March 13, 2006 6:26 AM
>Subject: [h-cost] Greetings and question about a painting
>
>
>  
>
>>Greetings!
>>
>>I am new to the list. I have a BFA in a theater from the University of
>>Georgia (US) in both performance and costume design. I went on into
>>computer science, but have continued costuming, mostly in community
>>theater settings.
>>
>>I have a question about the fabric/material used in the Beham "Portrait
>>of a Man", German/Bavarian, 1529. My original guess was a velvet, but
>>looking closer at the image, especially the cut-work in the trim and
>>collar, I have begun wondering if this was a suede of some kind. I am
>>curious as to what fabrics would be likely.
>>    
>>
>
>
>_______________________________________________
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>h-costume@mail.indra.com
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>
>  
>

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To me, it looks like a high quality woolen. well fulled and napped.

Beth

At 07:27 AM 3/13/2006, Lonnie wrote:
><snip>
>I have a question about the fabric/material used in the Beham "Portrait
>of a Man", German/Bavarian, 1529. My original guess was a velvet, but
>looking closer at the image, especially the cut-work in the trim and
>collar, I have begun wondering if this was a suede of some kind. I am
>curious as to what fabrics would be likely.
>
>Here is a good link to the portrait. Clicking on the image brings up a
>larger view that can go up to 200% of the image to see more of the detail.
>http://www.wga.hu/html/b/beham/barthel/portrait.html
>
>Thanks!
>Lonnie

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	<001101c6463f$1a9b30e0$a3bfa6d8@pavilion>
Subject: Re: [h-cost] European ancestors (was: Danish ancestors)
Date: Mon, 13 Mar 2006 08:22:42 -0600
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I have the Finnest face (and nose) in all the land--maybe I should look into 
what was worn there.  I'm hopelessly Franco-Flemish in garb taste too, 
though.

I'm curious about this discussion about typical facial features, 
though--does anyone remember enough about when it took place or what the 
subject lines were to help me find it in the archives?  This has been a 
topic of fascination for me for quite a while. I have friends and friends of 
friends who are from eastern Asia and Africa who can look at someone and 
immediately tell what geographical area or what tribe the Americans they see 
walking down the street are originally from.  It absolutely knocks my socks 
off!

-E House 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Obsessed with underwear
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On Mon, 13 Mar 2006, Kathy Page wrote:

> I'm doing a bit of byproduct research at the moment and can't figure
> out why there is such a clearly understood, but as-of-yet not terribly
> well supported belief that English women didn't wear underwear for, at
> the very least the 1500-1600 block of time. They were worn at other
> points in time - bikini type appear in illuminations through the
> middle ages. All over continental Europe at various periods they were
> the norm.

I think it is not safe to generalize about "through the middle ages" and
"all over continental Europe." Certainly in Gothic-era Western Europe
(before 1500) there is no good evidence for women wearing anything under
their shifts. There are a handful of images that get trotted out as
underwear examples whenever this comes up, but as we've hashed out
multiple times on this list (and as Heather Rose Jones ably showed during
her presentation on this topic at the Medieval Congress a few years ago*)
each of these is clearly designed to be an exception to accepted practice:
e.g. an image of a cross-dressing saint, a satiric view of an uppity woman
taking the man's role, etc. Balance that with a handful of written
references that make it clear that women were expected to be panty-less as
a norm, and a huge quantity of images in which underwear might be expected
but is absent, and the case is really quite strong.

I certainly don't know of a vast quantity of medieval European
illuminations of "bikini" underwear on women. On men, yes. In Roman art,
yes (but then possibly in certain circumstances only, e.g. athletic wear).
Maybe one or two medieval images I can think of that fall into the
category above of deliberate exceptions that prove the rule.

As you move away from England, and away from Western Europe, you might
have a better case. 

I do agree that the 16th c. saw the movement of female underwear into
Western Europe, as you have described:

> From the Middle East to Spain,
> From Spain to Italy,
> From Italy to France,

I believe there's a reference to one or two sets of drawers in Queen
Elizabeth's wardrobe, but no evidence that she actually wore them (vs.
them being gifts from foreign ambassadors and novelties). On the other
hand, her wardrobe accounts record vast quantities of those items that she
did wear on a daily basis, down to pins by the thousands and many personal
items, and one would think that if she wore drawers routinely they would
be recorded along with the rest of the wardrobe.

> Best I can find right now are two implied statements from Fynes
> Morryson and Samuel Pepys. Neither actually out right say "English
> women don't wear underwear", the implication is through their reaction
> to continental women that do. 

That's exactly the sort of evidence you're likely to find. If something
isn't routinely worn, isn't considered normal or typical, people don't
talk or write about it much, except when they have occasion to talk about
those who do wear it (e.g. those bizarre foreigners).

The absence of other evidence is a pretty good indicator that the items
simply weren't around -- not just the pictures that show men with drawers
and women without, but also documentary evidence, e.g. the lack of
mention of drawers along with chemises, caps, and other linen goods in
milliners' shop lists.

An analogy: How often do people today talk about women not wearing
neckties? If you were trying to show through documents and artwork that
women in the USA c. 2000 don't wear neckties, what kind of evidence would
you have?

> Just where is this coming from???

Not sure what your question is -- you mean, where do people get the idea
that English women didn't wear underwear till, at best, late in the 16th
c., and most likely not till later?

Perhaps it's true?

If you find solid evidence to the contrary, I know this list will be very
happy to hear it.

--Robin

*coming soon to a volume of Medieval Clothing & Textiles ... vol. 4 I hope
(right, Heather?)

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Subject: [h-cost] Trying to find original source
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I'm sprucing up a pair of kid gloves to look more
elizabethan, and have decided this is what I want them
to look like:
http://ca.geocities.com/absynthe30/avatars/hand.jpg
(hopefully tht link works, it said it uploaded just
fine, but I couldn't get it to open myself. weird.) 
The drawing is from Cunningtons' "Handbook of English
Costume in the Sixteenth Century". When I checked her
source for the drawing, it was not an original
painting as I had hoped, but another book (Kelly's
"Shakespearean Costume"). I know I have seen these
gloves in a painting just recently but I can't for the
life of me recall the painting itself. I had found a
close-ish Spanish one, but it's hard to tell. Does it
ring a bell for anyone?

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Date: Mon, 13 Mar 2006 15:08:23 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Obsessed with underwear
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As I've mentioned before, I found it hard to believe that women used not to wear drawers until I saw the Rowlandson print "Exhibition Stare Case", which shows 18th century women tumbling down stairs and obviously not wearing any.

Kate Bunting
Librarian and 17th century reenactor


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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
>> Elijah & the Widow of Zarapeth -- dig the sleeves
>> http://www.wga.hu/art/m/master/zunk_fl/16_paint/1/04adora2.jpg
>
> I think she's pretty realistic. I've seen those sleeves elsewhere. I think
> I saw this one in person, or one much like it, and took pictures -- not
> for the sleeve, but for the fitting at the back waist. IIRC, there's a
> horizontal seam at the top of the pleats, but it sort of comes out of
> nowhere -- it doesn't go beyond the pleated area. I would have to find the
> slides to confirm that, though. This is not the only gown I saw that on;
> it's some sort of technique for fitting over the rump. I can think of two
> or three ways to do it.

I've been pondering this sleeve style for a while.  It is seen pretty often, 
and occasionally on non-saints, but... I think there's at least one symbolic 
element to it, and I'm pretty sure it's the fringe that often shows up.  I 
can't think of a single occasion when that sleeve fringe did not appear on a 
Jewish/Old Testament figure. Even though the short sleeves worn over a 
chemise look is realistic, I think that perhaps it shows up in 
paintings/illuminations/etc a bit more than necessary in a representative 
fashion sense, as an easy way to display that symbolic fringe.

If anyone is interested in that pleated bustle effect style dress, just wait 
around a few days; that's the style I post about all the freakin' time! =} 
(Or at least the later variant of it.) If you want to see more pictures of 
that style, you can wade through the temp files I have online:
http://www.formfunction.org/temp/
http://www.formfunction.org/temp2/
http://www.formfunction.org/temp3/
There's all sorts of other stuff in there too, but I'm too busy/lazy to pick 
out the bustle ones at the moment.

-E House 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Hi Monica, this has been discussed numerous time on this list. I think 
you will be successful in searching the archives for it. I suggest you 
try the archives listed on this page: 
http://mail.indra.com/mailman/listinfo/h-costume but also check out this 
mail archive: http://dir.gmane.org/gmane.culture.studies.history.costume
You can search more easily there in my opinion.

As to the topic, IMHO, you may both be right. I think you'll find the 
jist of the conversations to say that it is fair to say that the ruff 
developed from the chemise irrespective of how the neck line was 
handled. OTH, I if I remember how the discussions have gone, you simply 
won't find any substantial evidence that drawn necklines existed or were 
prevalent enough to say that was the source. Clearly, they are used 
extensively in Ren. Fair. situations. :-)

Sg

The Power of AND
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work and still go fly fishing.
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Tyranny of the OR – the rational view that cannot
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] European ancestors (was: Danish ancestors)
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On Mon, 13 Mar 2006, E House wrote:

> I'm curious about this discussion about typical facial features, 
> though--does anyone remember enough about when it took place or what the 
> subject lines were to help me find it in the archives?

<rustle, rustle> 

I have one post saved from Nov. 24, 2002, with the subject line "body type
periods." It refers back to an even earlier thread, so this wasn't the
original discussion.

And again in Nov. 2003, with a subject line "Facial and body types &
costume", which also refers back to the original thread.

I cannot find the original thread.

Certain things tend to come up over and over.

> This has been a topic of fascination for me for quite a while. I have
> friends and friends of friends who are from eastern Asia and Africa
> who can look at someone and immediately tell what geographical area or
> what tribe the Americans they see walking down the street are
> originally from.  It absolutely knocks my socks off!

A Ukranian at the Medieval Congress once nailed me not only as Ukranian,
but correctly placed my family as from Kiev. On one guess. Yow.

--Robin

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