From: owner-h-costume-digest (H-Costume Digest) To: h-costume-digest@lunch.engr.sgi.com Subject: H-Costume Digest V4 #122 Reply-To: h-costume Sender: owner-h-costume-digest@lunch.engr.sgi.com Errors-To: owner-h-costume-digest@lunch.engr.sgi.com Precedence: bulk H-Costume Digest Sunday, May 19 1996 Volume 4, Number 122 Compilation copyright (C) 1996 Diane Barlow Close and Gretchen Miller Use in whole prohibited. Individual articles are the property of the author. Seek permission from that author before reprinting or quoting elsewhere. Important Addresses: Send submissions to: h-costume@lunch.engr.sgi.com (or reply to this message). Adds/drops/archives: majordomo@lunch.engr.sgi.com Real, live person: h-costume-request@andrew.cmu.edu Topics: enlarging patterns by projecting&/or copier COLOR NAMES: Early Gothic 1300-1400 Re: enlarging patterns by projecting&/or copier COLOR NAMES: Late Gothic 1400-1459 Re: goofy garb Re: Elizabethan Blues Re: Meanings of colors Re: Stumped on 19th Century Arnold Pattern Re:looking for sabots Thanks for Boots & Rigeline comments period pillows-Louis XIV Re: enlarging patterns by projecting&/or copier ---------------------------------------------------------------------- Date: Sat, 18 May 1996 12:35:05 -0700 (PDT) From: "Sauree (Nina) Pinckard" Subject: enlarging patterns by projecting&/or copier I used to enlarge patterns by projecting. The problems are the same for enlarging by copier. The pattern will be enlarged vertically as well as horizontally. You must be proportionally "taller" as well as wider and should the pattern be enlarged substantially, 6 inches at the waist to make a 19" pattern fit a 25", it means that the neck to waist would also increase substantially. I do not recommend using this method without making a mock up of the garment - at least the for the bodice. ------------------------------ Date: Sat, 18 May 1996 15:40:13 -0400 (EDT) From: "Penny E. Ladnier" Subject: COLOR NAMES: Early Gothic 1300-1400 "Permission is given to copy and freely distribute this list as long as this header remains intact. No warrenty expressed or implied." (c) Penny E. Ladnier Send updates, corrections, additions and comments to me: s0peladn@erols.com COLOR NAMES THROUGH THE CENTURIES EARLY GOTHIC 1300-1400AD SAMITE BROWN: 1337, Color used for mourning. ALL PREVIOUS INFORMATION IS DOCUMENTED IN: "COSTUME IN ENGLAND: A HISTORY OF DRESS" MAIDEN HAIR BROWN: 1359, Brown SEA GREEN: 1350, Bluish Green FLAME: 1327, Red associated with lovers. PEACH: 1315, Started in France. ALL PREVIOUS INFORMATION IS DOCUMENTED IN: "COSTUME IN THE DRAMA OF SHAKESPEARE AND HIS CONTEMPORIES $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ Pennies from Heaven, where it's always reigning money, or at least my kids think so. Penny E. Ladnier, Virginia Commonwealth University s0peladn@erols.com $ $ $ $ $ $ $ $ $ $ $ $ $ $ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ ------------------------------ Date: Sat, 18 May 1996 15:03:12 -0500 (CDT) From: The Espresso Pegasus! Subject: Re: enlarging patterns by projecting&/or copier > > I used to enlarge patterns by projecting. The problems are the same for > enlarging by copier. I have taken the patterns from an opaque projector (no transperancy needed like for overhead projectors) and have all my measurements close at hand, to adjust, to fit me.... or whoever I'm making it for. Sometimes taking the measurements from a similar fitting garment helps too. then just add the seam allowance to any edge that has to be sewn. I find that the biggest problem is armholes that aren't drawn to scale, (maybe armholes frighten me- I'm not sure) but I make sure that the shoulder to underarm measurement is especially close by. Measure out by dots at any 'turn' in the pattern line, then play 'connect the dots' with similarly drawn lines. Take Care, Sarahj ------------------------------ Date: Sat, 18 May 1996 16:27:17 -0400 (EDT) From: "Penny E. Ladnier" Subject: COLOR NAMES: Late Gothic 1400-1459 "Permission is given to copy and freely distribute this list as long as this header remains intact. No warrenty expressed or implied." (c) Penny E. Ladnier Send updates, corrections, additions and comments to me: s0peladn@erols.com COLOR NAMES THROUGH THE CENTURIES LATE GOTHIC 1400-1459 BERETTINO: A shade of grey, verging on black, favoured by Isbella d'Este. It is also a color of mourning. CREMISI: A shade of red of premium quality. It refers to the color and the dye. It is recorded being worn by eight ambassadors in the Florentine embassey to the Pope. ROSATO: A shade of red (pinkish) worn by 72 companions at the previous mentioned meeting with the Pope. It refers to the color, dye, and fabric. TURCHINO: A colour, possibly turquoise. ALESSANDRINO: A vivid blue. BIGIO: A shade of grey. BRUSCHINO: A shade of red, verging on Pavonazzo, often used for cloppe. GRIGIO: As a colour, it means grey. SBIADATO: Possibly a shade of bluish grey. COLORI COROZISI: 1438, Colors of mourning. MORELLO: Mulberry colored used during mourning and by widows. COROZOSO: Dull dark colours of mourning, shades of mulberry, blue, green, brown, and black. COLORS WORN BY SCHOLARS PAVONAZZE, PAONAZZO or PAGONAZZO: 1431, Mulberry shade or peacock-coloured worn by canonist on their toghe. PORCUPINE: 1431, Color worn by lawyers on their toghe. BLACK: 1431, Color worn by the art faculty on their toghe. ALL PREVIOUS INFORMATION IS DOCUMENTED IN: "RENAISSANCE DRESS IN ITALY 1400-1500" $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ Pennies from Heaven, where it's always reigning money, or at least my kids think so. Penny E. Ladnier, Virginia Commonwealth University s0peladn@erols.com $ $ $ $ $ $ $ $ $ $ $ $ $ $ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ ------------------------------ Date: Sat, 18 May 1996 19:25:07 -0700 From: Joan M Jurancich Subject: Re: goofy garb At 04:22 PM 5/8/96 -0400, Drea wrote: > >Someone once told me--I believe it was on this list--about the short >period in time during the turn of the 19th century when waistlines >ascended to right below the bust but court fashion still dictated that >panniers had to be worn. Women looked like walking tents. I'd love to >find an original picture of this somewhere. > >Drea > I know it's been a while since Drea sent this message, but better late than never I guess. If you have access to a copy of "Corsets and Crinolines" by Norah Waugh, on page 131 (figure 99) there is a copy of a contemporary print of the Marchioness of Townshend in full court dress of 1806, with the high waist and panniers at the armpit level. Looks something like a bell with a very short handle. Happy picture hunting, Joan Jurancich joanj@quiknet.com ------------------------------ Date: Sat, 18 May 1996 19:27:21 -0700 From: Joan M Jurancich Subject: Re: Elizabethan Blues >Date: Thu, 16 May 1996 22:44:42 >To: Catherine Kinsey >From: Joan M Jurancich >Subject: Re: Elizabethan Blues > >At 08:14 AM 5/16/96 -0600, you wrote: >>>>>>>>>>>>>>>>>>>> >>Only after I made the dress did I find the Elizabethan costume source >>(Costume in the Drama of Shakespeare and his Contemporaries) Penny also >>used. >>From the very nicely descriptive text, I found that my color was (as close >>as >>I could tell) "watchet" as opposed to other hues of blue -- and also that >>blue was, at the time, used by servants! A blue costume in a contemporary >>play would by itself indicate that the wearer was a servant. Needless to >>say, >>this wasn't meant to be a servant's dress. Luckily for me, I wasn't wearing >>it for an Elizabethan audience! >><<<<<<<<<<<<<<<<<<<<<<<<<<< >>This is not the first time I have heard this yet the only source I have >>seen on it is the Elizabethan Costume book by the California Faire team. >>Can anyone more familiar with the drama of the period give me some >>additional references? I have seen sources (sorry, they are at home) >>describing Mary Queen of Scots wearing blue and I would hardly call her a >>servant :). >> >>Cat' >>ckinsey@kumc.edu >> > Actually, blue, per se, was not just for servants. The following entry is from "Queen Elizabeth's Wardrobe Unlocked", by Janet Arnold, page 281, 3rd column, describing one of the queen's garments: "10 Item one gathered kirtle of watchet or blew gold baudekin welted with blue vellat with a lace of golde and Carnacion silke." As defined in the Index, "WATCHET, WATCHED" Light blue. examples: watchet or blew gold baudekin; tuffes of Carnacion and watchet silke; watchet or blewe Satten; watchet sarceonet; watchet plush; watched satin; watched tuft taffeta; wrought vellat watchet and blewe. The quality of the fabric of the outfit is more important than the color, per se, for determining social class. Many of the conventions at the Renaissance Pleasure Faires were developed for theatrical reasons, and have taken on a life of their own. For example, purple was used in many liveries for guilds and towns; it was not reserved for the queen alone. But at RPF, it's the "queen's" color. Actually, having worked at RPFNorth for many years, I have used dark blue velvet for one gown (with black quilted satin underskirt & sleeves), and dark blue faile for another; both were trimed with gold lace of various designs and worn with a great deal of jewelry since I played a countess. I was never mistaken for a liveried servant. From one for whom blue is a favorite color, I bid you farewell, Joan Jurancich aka Lady Dorothy (Hastings) Devereux [RPFN] joanj@quiknet.com ------------------------------ Date: Sat, 18 May 1996 19:29:35 -0700 From: Joan M Jurancich Subject: Re: Meanings of colors >Date: Thu, 16 May 1996 22:44:45 >To: mhamilto@magnus.acs.ohio-state.edu (Marsha Hamilton) >From: Joan M Jurancich >Subject: Re: Meanings of colors > >At 05:31 PM 5/16/96 -0400, you wrote: >>Read an article long time ago on symbolism of colors/colours in Elizabethan >>England. I seem to remember blue standing for inconstant or untrue nature. >>There are relatively few period portraits in blue through there are >>some--I'm thinking of designs that portray the sky or zodiac or heavens, >>where use of blue would be natural. Also use of blue silk thread in >>embroideries of many colors. Never ran across the servant connection >>before. >> >>Marsha >> Color symbolism, like any other symbolism, is contextual. Sometimes it exists, and sometimes it doesn't. Plus, there were many different interpretations of each color, depending upon the year, country, and author. Janet Arnold has a sensible discussion of color symbolism in "Queen Elizabeth's Wardrobe Unlock'd" (see especially pages 90-91). Quoting from Arnold: "It is possible that the clothes worn by the Queen for masques, for appearances on Progresses, at ceremonies such as the Accession Day Tilts and on other public occasions would have been chosen with colour significance in mind. At other times any symbolism was probably confined to the embroidery motifs on her clothers and jewels worn with them." Yours in love with beautiful blues, Joan Jurancich aka Lady Dorothy (Hastings) Devereux [RPFN] joanj@quiknet.com ------------------------------ Date: Sat, 18 May 1996 19:36:13 -0700 From: Joan M Jurancich Subject: Re: Stumped on 19th Century Arnold Pattern Having seen a number of postings about altering patterns from Arnold (or anyone else for that matter), I thought that I would post this answer I sent to Ysabeau's original posting. (My email program didn't address this reply to the list automatically). >Date: Fri, 04 Jan 1980 22:19:04 >To: cwood@primenet.com (Ysabeau) >From: Joan M Jurancich >Subject: Re: Stumped on 19th Century Arnold Pattern > >At 12:34 PM 5/15/96 -0700, you wrote: >>HELPPPPPPPPPPPPPPPPPPPPPPPP!!!!!!!!!!!!!!! >> >>I am trying to make the Day Dress 1866-67 from the Museum of Costume in >>Janet Arnold's Clothing of Everyday Englishwomen (or whatever it is >>called--the book that covers the 19th century) and I am stumped. I >>transfered the pattern onto pattern paper and that went okay, but the dress >>was (big surprise) way too small and in trying to enlarge it I have gotten >>hopeless confused. Now all my seams are screwed up and weird and I am crabby. >> >>Could anyone give me some friendly advice on exactly how to make a pattern >>of this type larger? This bodice was recommended to me as one of the easiest >>to make, seeing as how it only has five pieces, but I can't seem to manage it. >> >>And of course the punchline is that I need it by Saturday! >> >>Advice would be gratefully received and followed. >> >>Ysabeau >> > >Dear Woeful Ysabeau, > >I am considerably larger than any of Arnold's patterns. I found the only way to make a "reproduction" was to use her patterns as models to alter a sloper (or basic fitted bodice) to give the right look. If you have "The Costumer's Handbook", by Rosemary Ingham and Elizabeth Covey, you will find instructions for drafting slopers for bodices and sleeves. It really works! If the slopers are fitted properly, any alterations you make by moving darts, changing darts to seams, etc., will not alter the fit (instructions for the alterations are in the book); and if you are pressed for time, you can even go without an actual fitting (I am usually pressed for time). Of course the measurements for the bodice sloper must be taken over the undergarments you would be wearing with the dress. > >This advice probably will not help much for Saturday. But it may make life easier in the future. Good luck! > > > Joan Jurancich joanj@quiknet.com ------------------------------ Date: Sun, 19 May 1996 10:44:53 -0400 From: MsSheep@aol.com Subject: Re:looking for sabots Can anyone suggest a source for sabots? We like to wear these at reinactments esp in wet conditions. My ususal source has dried up and I need several new adult size pairs. I can be reached at mssheep@aol.com. Thanks Dianne ------------------------------ Date: Sun, 19 May 1996 14:30:25 -0400 From: aquazoo@dcez.com (Ed Safford & Carol Kocian) Subject: Thanks for Boots & Rigeline comments Thanks so much everyone for the information about the development of cowboy boots and dancing in them! When I mentioned my western/cowboy style riding boots being uncomfortable to walk in - yes, they did have 2" heels that were pitched in at the back. Since I was 12 years old at the time, they were the highest heels I'd ever worn up to that point. Also, I'm remembering that most of the ground around the stables & areas where I rode was not smooth terrain. There are western boots now made specifically for dancing. They are made with suede soles just like ballroom dance shoes. Quite a change from boots used on the rough floors of the past! As far as the rigeline plastic bits sticking through cloth - melting them together sounds like a good solution. Greenberg & Hammer also sells rigeline tips. These are u-shaped metal pieces that clamp onto the cut ends. They seem like they will both give a smooth, rounded edge that is easy to slide into channels, and keep the plastic strands from poking through. -Carol Kocian *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* This account is shared by Carol Kocian and Ed Safford. Carol can also be e-mailed at ckocian@epe.org Ed can be reached at ecsaffor@ingr.com ------------------------------ Date: Sun, 19 May 1996 17:38:09 -0400 (EDT) From: Tristan Subject: period pillows-Louis XIV I have been viewing the list for several months and am gratefully to the abundance of information. If this is not a suitable question for the list ignore it..(Hopefully it is) My question: Can anyone recommend books dealing with the draperies and accessories of Louis XIV? I have been commissioned to recreate period pillows from the reign of Louis XIV and am having a hell of time finding examples. Any suggestions... I scoured the index and couldn't find anything and paintings from the period are mainly portraits... not a pillow in site. The client is providing me with the most gorgeous antique silk brocades and trims(these fabrics he gave me are amazing) for the job, but I have to find examples before I begin cutting such delicate materials. Any help would be most appreciated... Sincerely, Tristan Cutshaw Deiphilus@infoave.net "They put their legs into tight socks and upon their wrist they hang a yard of cloth; they put more cloth into the making of a glove than a hood. Perchance they will thereby all do penance for their vanities." TAlES FROM SACCHETTI- 14TH cent quite amusing.... ------------------------------ Date: Sun, 19 May 1996 15:30:29 -0800 From: "R.L. Shep" Subject: Re: enlarging patterns by projecting&/or copier Sauree (Nina) Pinckard wrote: > > I used to enlarge patterns by projecting. The problems are the same for > enlarging by copier. The pattern will be enlarged vertically as well as > horizontally. You must be proportionally "taller" as well as wider and > should the pattern be enlarged substantially, 6 inches at the waist to > make a 19" pattern fit a 25", it means that the neck to waist would also > increase substantially. I do not recommend using this method without > making a mock up of the garment - at least the for the bodice Thanks for the information and for being "careful" - It never hurts to take care when doing things of this sort in order to have something you can use as the final result. R.L. Shep ------------------------------ End of H-Costume Digest V4 #122 ******************************* A non-digest (direct mail) version of this list is also available; to subscribe to that instead, send the command lines: unsubscribe h-costume-digest subscribe h-costume end in the body of a message to majordomo@lunch.engr.sgi.com. Thanks and enjoy the list!