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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <000001c36fb5$db9848e0$be520940@WorkingGirl>
Subject: Re: [h-cost] RE: cotton mills of New England
Date: Mon, 1 Sep 2003 10:27:04 -0400
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I am a bit late on this topic, but would like to respond to Charlene with
some titles that may pertain to her query:
Amoskeag;Hareven and Langenbach;Pantheon, 1978
Women at Work;Dublin; Columbia U Press,1946, revised 1983
Textiles in New England:;Boston University,1999.
Kathleen
----- Original Message ----- 
From: "Margaret Baird " <beads@traknet.com>
To: <h-costume@indra.com>
Sent: Sunday, August 31, 2003 7:48 AM
Subject: [h-cost] RE: cotton mills of New England


> Charlene,  I suggest that you try the American Textile History Museum
> 491 Dutton Street   Lowell, MA 01854   Tel: 978-441-0400.  Currently
> they do not have an e-mail address!  At least not one that I could find.
> Good luck , Margaret Baird
>
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Date: Mon, 01 Sep 2003 16:03:37 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: Re: [h-cost] 16th century Iron Plate corsets
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Actually Montaigne died in 1592 so the translation you quote postdates
his life. I wonder what the translator meant by "spangolized"?

Kate Bunting
Library, University of Derby

>>> Lisa-list@threadneedlest.com 08/30/03 05:22pm >>>
I suppose most of you have seen the extant iron corset (16th or 17th c?
I'm getting old my memory is going!) and read the speculation as to
whether it might have been an orthopedic devise and not an everyday
corset.  Well, I've just come across a quote from Montaigne's Essays -
1603 mentioning "yron-plates" (not corsets though)  to slender the
waist.

"I have seen them swallow gravell, ashes, coales, dust, tallow,
candles, and for the nonce, labour and toyle themselves to spoil their
stomache, only to get a pal-bleake colour.  To become slender in wast,
and to have a straight spangolized body, what pinching, what girding,
what cingling will they no indure; yea someimtes with yron-plates, with
whale-bones and other such trash..."

The gravel, ashes, coals eating sounds like Pica.

Lisa Sinervo
Thrednedle Strete Clothiers
www.ThrednedleStrete.com 



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From h-costume-bounces@indra.com  Mon Sep  1 11:35:55 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th century Iron Plate corsets
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Hi, All. On the subject of Pare', my favorite surgeon, I would like to 
note that in my facsimile of the 1634 English translation, Pare' says 
this about corsets  Book 23 Chap 8  "Of amending the deformity of such 
as are crookedbacked"  "The bodies of many, especially young maids or 
girles (by reason that they are more moist and tender than the bodies of 
boyes) are made crooked in process of time, especially by the wrenching 
aside and crookednesse of the backe-bone. It hath many causes, that is 
to say, in the first conformation in the wombe, and afterwards by 
misfortune, as a fall, bruise or any such like accident, but especially 
by the unhandsome and undecent situation of their bodies, when they are 
young and tender, either in carrying, sitting or standing (and 
especially when they are taught to goe too soone) saluting, sewing, 
writing, or in doing any such like thing.
  In the meane while, that I may not omit the occasion of crookednesse, 
that happens seldome to the country people, but is much in incident to 
the inhabitants of great townes and cities, which is by reason of the 
straitnesse and narrownesse of their garments that are worne by them, 
which is occasioned by the folly of mothers, who while they covet to 
have their young daughters bodies so small in the middle as may be 
possible, plucke and draw their bones awry, and make them crooked. For 
the ligaments of the back-bone being very tender, soft and moist at that 
age, cannot stay it strait, and strongly, but being pliant, easily 
permits the spondels to slippe awry inwards, outwards or sidewise, as 
they are thrust and forced.
  The remedy for this deformity is to have breast-plates of iron, full 
of holes all over them, wherby they may be lighter to wear, and they 
must be so lined with bombast, that they may hurt no place of the body. 
Every three moneths new plates must be made for those that are not yet 
arrived at their full growth, for otherwise by the daily afflux of more 
matter, they would become worse. But the plates will do them small good 
that are already at their full growth"

So we can see that Pare' is advocating corrective orthopaedic work for 
the young,  who are "crooked" due to congenital or environmental 
difficulties. He illustrates "The forme of an iron Breast-plate, to 
amend the crookednesse of the Body". It appears less like a corset or 
pair of bodies than a pattern for a womans breast plate worn by modern 
SCA women fighters, but full of holes. I can jpeg a picture to anyone 
who would like to post it, but it should be noted that Pare's device is 
not the same as those other "metal corsets", and more like modern 
orthopaedic devices. It should not be used as "proof" that metal corsets 
were being used for correction, especially in adults. Particularly in 
the last sentence, he sees little use in correcting the body once the 
damage has been done. Cheers, Mike T.  



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From h-costume-bounces@indra.com  Mon Sep  1 11:53:58 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <sf536e02.063@CSV6.derby.ac.uk>
Subject: Re: [h-cost] 16th century Iron Plate corsets
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looks like 1603 was the date of Florio's Translation of Montaige's essays
from 1580-1592.  I'm going to keep an eye out for "spangolized" - not sure
what that means.  Although looking at the original work would probably be
more useful.  If I happen to stumble across this I'll let you know.

Lisa



----- Original Message -----
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Monday, September 01, 2003 8:03 AM
Subject: Re: [h-cost] 16th century Iron Plate corsets


> Actually Montaigne died in 1592 so the translation you quote postdates
> his life. I wonder what the translator meant by "spangolized"?
>
> Kate Bunting
> Library, University of Derby
>



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Subject: Re: [h-cost] 16th century Iron Plate corsets
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Lisa:
> looks like 1603 was the date of Florio's Translation of Montaige's essays
> from 1580-1592.  I'm going to keep an eye out for "spangolized" - not sure
> what that means.  Although looking at the original work would probably be
> more useful.  If I happen to stumble across this I'll let you know.

I would guess that "spangolized" means something to do with Spain.
Like, "made in the Spanish style".  Just a guess based on what I know of
Elizabethan period mis-spellings of terms related to Spain :)

K.

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I've just run across this site http://www.fabrics.net/  which might be helpful.  It has a feature where you can post a fabric you are looking for and stores can contact you if they carry it.  

Lisa Sinervo
www.thrednedlestrete.com
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Subject: [h-cost] Source for Muslin
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Does anyone know a really *cheap* source for muslin, either online or offline?  Thanks.


                  ,%%%,
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Subject: [h-cost] More pictures of my new 16ct dress
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Hi,

Yes, I have done all the lacingholes in the back.
I finally could fit the gown over my corset and it is a little to big!
There is some wrinkeling at the front of the bodice.
But I don't mind, untill now my bodices were alway's too small.
If it is hot I will be able to loosen up my corset.

http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html

Greetings,
    Deredere


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From: Katy Bishop <vintage@shore.net>
To: Joan Broneske <unicorn@surewest.net>
Subject: Re: [h-cost] Source for Muslin
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New England Quilt supply, a wholesale quilt supply shop in southeastern
MA.
781-293-7600
158 Center St
Pembroke, MA 02359
http://www.newenglandquiltsupply.com/

They have a "house muslin", their cheapest, that is over $1 a yard, but
not more than $1.50 last time I got it, and they carry many other white
and colored muslins.  They have a website and photocopied catalogue.
You have to buy by the bolt or for a couple of dollars you can purchase
only half a bolt.  They also have a nice 200 count 90' wide cotton
sheeting that I love (approx $3 a yard)

Katy

On Mon, 1 Sep 2003, Joan Broneske wrote:

>Does anyone know a really *cheap* source for muslin, either online or offline?  Thanks.
>
>
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>Joan Broneske          ||       `>> >     unicorn@surewest.net
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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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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] More pictures of my new 16ct dress
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Coming along very nicely ,Deredere!! 
Albra

Deredere Galbraith <triade@kabelfoon.nl> wrote:
Hi,

Yes, I have done all the lacingholes in the back.
I finally could fit the gown over my corset and it is a little to big!
There is some wrinkeling at the front of the bodice.
But I don't mind, untill now my bodices were alway's too small.
If it is hot I will be able to loosen up my corset.

http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html

Greetings,
Deredere


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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: "Historical Costume" <h-costume@indra.com>
References: <000001c36fdf$ddf13af0$0201a8c0@kimathlon>
Subject: Re: [h-cost] 1885 dress pattern? Books?
Date: Mon, 1 Sep 2003 11:11:57 -0700
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You should check out Truly Victorian patterns (www.trulyvictorian.com) for
TONS of bustle-era patterns that work out really well.

You can read reviews of their patterns on the GBACG Great Pattern Review:
http://www.gbacg.org/Patterns/tv.htm

- Kendra
http://demode.tweedlebop.com

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The cheapest way to buy muslin I have found is to buy it at Joanns 
(it's the ONLY thing I buy there)
using a 50% off coupon.  It comes out to about 40 cents a yard, I 
think.  I buy the whole bolt, shrinkwrapped,
so they won't try to measure it for me.

.heather.

On Monday, September 1, 2003, at 10:44 AM, Katy Bishop wrote:

>
> New England Quilt supply, a wholesale quilt supply shop in southeastern
> MA.
> 781-293-7600
> 158 Center St
> Pembroke, MA 02359
> http://www.newenglandquiltsupply.com/
>
> They have a "house muslin", their cheapest, that is over $1 a yard, but
> not more than $1.50 last time I got it, and they carry many other white
> and colored muslins.  They have a website and photocopied catalogue.
> You have to buy by the bolt or for a couple of dollars you can purchase
> only half a bolt.  They also have a nice 200 count 90' wide cotton
> sheeting that I love (approx $3 a yard)
>
> Katy
>
> On Mon, 1 Sep 2003, Joan Broneske wrote:
>
>> Does anyone know a really *cheap* source for muslin, either online or 
>> offline?  Thanks.
>>
>>
>>                  ,%%%,
>>             --==% `%%%,
>>                 |' )`%%,
>>                 \_/\ @%%,
>>                   __@@" %%%--"""-.%,
>>                  /`__|             \%%
>>                  \\  \   /   |     /'%,
>>                   \]  | /----'.   < `%,
>> Joan Broneske          ||       `>> >     unicorn@surewest.net
>>                        ||       ///`
>>                       /(      //(
>> _______________________________________________
>> h-costume mailing list
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>>
>
> 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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Date: Mon, 01 Sep 2003 11:14:14 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] 1885 dress pattern? Books?
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At 11:52 AM 8/31/2003 +0200, you wrote:
>  Hi,
>
>I was looking at some websites for patterns for a 1885 dress but I can 
>only find seperate patterns, like a bodice pattern, skirt pattern.....
>And if I calculate the price for a complete dress it will cost about $90.
>Are there any books with patterns for dresses?
>At least someting less expensive than buying al those seperate patterns.
>I have Janet Arnolds patterns of fashion but find the patterns difficult 
>to understand.


Hi Deredere,

Have you looked at _Period Costume for Stage & Screen: Patterns for Women's 
Dress, 1800-1909_
by Jean Hunnisett?

The book is wonderful (imho) and covers patterns for making the 
undergarments to the outer clothing. She shows the different forms of the 
bustle, and describes how to make them up. She is a theatrical designer, 
but she includes historical overviews and fashion plates. While she doesn't 
list anything specifically for 1885, She does show bustles, pads, 
petticoats, bodices and skirts from 1886-87. You should be able to work out 
your design from her info.

Amazon.com carries the book, but Alter Years or Lacis would have them in 
immediate stock I think. I paid $40 for the book several years ago, but the 
price on Amazon shows it at $55, so ypmv.

hth,

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Date: Mon, 01 Sep 2003 12:00:05 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] More pictures of my new 16ct dress
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At 07:17 PM 9/1/2003 +0200, you wrote:
>There is some wrinkeling at the front of the bodice.
>But I don't mind, untill now my bodices were alway's too small.


Hi Deredere,

I love how the dress is coming along. It looks wonderful, and I love how 
you did the lacing up the side back. I also like the height of the front of 
the dress. Some people may wonder why your bosom ISN'T showing like two 
ripe melons on a platter, but I like it. I also like what you are doing for 
the headpiece.

To be honest, that wrinkling in the front is bothering me. I know how that 
can go as my first nobles dress came out wrinkled in a similar manner, and 
I didn't care because it was done and I could wear it. But as I did, I got 
some snickers and "oh, dear" looks from other people that have made me 
realize that I need to adjust my bodice into fitting better, which I will 
do if I ever get back into that size (which I am working on).

To help you from getting that "oh, dear" look, I hope I can provide a 
little constructive criticism, if you don't mind. I would rather your hard 
work pay off in a "Oh, WOW" look from envious people, like me.

It looks like the wrinkling is really prominent at the lower bodice, which 
makes me think it isn't a matter so much of how big around it is, but maybe 
how long the bodice front is. It looks to be at or near your armpits, at 
the top, so I wonder is it comfortable there or is it digging in? Do you 
feel you have to tug it into place or is it sitting in place? Are you 
willing to redo the bodice to shorten it a bit at the front, because it 
looks like the side seams are the right length, at least from the back. Do 
you have boning down the front? Is your corset as long as the bodice? Maybe 
that is where the wrinkling at the lower bodice is coming from.

And if the bodice is fitting you a little big, then why the stress wrinkles 
across the back? Is that back interlined any? Is it pulling forward or how 
does it feel to you? I am not sure what may be causing the wrinkles back 
there, except it may be a bit small in the back or something I am not 
understanding.

I hope that helps you. I really love that you are doing this dress, and 
can't wait to see it all come together for you.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From h-costume-bounces@indra.com  Mon Sep  1 17:05:48 2003
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Date: Mon, 1 Sep 2003 19:21:04 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Early plaid?
References: <Pine.LNX.4.10.10308311805400.27530-100000@shell.nightowl.net>
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I was reading about this recently (and I'm sure others will correct my 
details, since cloth manufacture is certainly not my speciality).  In 
Saxon/Viking times, you get lots of stripes and checks, they're using 
worsted yarn, and very little fulling.  By about 1200, they're using 
woollen yarn (carded not combed, with more short fluffy fibres), dyed in 
the piece instead of in the skein, and heavily fulled and clipped. 
Those processes would blur woven patterns, so fabrics are more likely to 
be plain.

You can't identify cause and effect, but the fabric type and the pattern 
(or plain) seem to go together.  Since well-fulled, piece-dyed fabrics 
were considered better quality, you can see how stripes and checks would 
not be favoured by the upper classes.  I don't know how long that 
preference lasted, however.

Jean


Wanda Pease <wandap@hevanet.com> wrote
>I was just going through pictures taken in Pisa about 15 years ago.  There
>are a series of scenes painted in the 1400's showing the results of the
>black death.  In one scene is a man lying on his back with his soul (baby)
>coming out of his mouth.  He is wearing a cream and shades of brown plaid,
>not check, long outfit (gown).  This is definitely not a check, nor is it
>fur.  I think I can scan it in if necessary.   Also, in the upper left
>section of the set of paintings by Lorenzetti, Ambrogio (Italian, approx.
>1285-1348) scenes from the Life of St. Nicholas, you will see a man who
>looks as though he has a plaid gown with a "Robin Hood" hat on (the
>remastered cut of the Errol Flynn Robin Hood is presently playing here in
>Portland and the influence is leaking into my computer :-)
>
>There isn't any "secret" to weaving plaid (as we presently call the fabric
>in the US).  It doesn't seem to have been particularly popular in clothing
>for aristocrats.
>
>Regina Romsey
>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
>> Behalf Of Robin Netherton
>> Sent: Sunday, August 31, 2003 4:14 PM
>> To: Historical Costume
>> Subject: Re: [h-cost] Early plaid?
>>
>>
>>
>> On Sun, 31 Aug 2003, Nancy Kiel wrote:
>>
>> > In Rogier van der Weyden's Crucifixtion in a Church, c 1445, center of
>> > Altar of the Seven Sacraments, the woman behind the cross appears to
>> > have a "plaid" lining to her over-dress.  (The plaid is very open, so
>> > could be considered a check?)  Has anyone seen anything similar in
>> > other paintings?  I always associate plaids with Scotland, of course.
>>
>> I don't know if you're looking at an online version (which is likely to be
>> misleading) but if you can get your hands on a very good print, you'll see
>> that the lining is fur, and the squarish design comes from the pattern of
>> the pelts that make up the fur. This is a pretty standard way of depicting
>> certain furs made up of rows of two-toned small pelts, and it's not the
>> first time I've heard someone say the pattern looked like plaid or checks,
>> especially in an online version or a poor reproduction.
>>
>> In the right wing of that same painting, in the part depicting the
>> sacrament of marriage, you can see the bride has sleeves lined with the
>> same sort of fur, and there's a tiny line at her hem showing the stripey
>> pattern.
>>
>> That triptych is loaded with wonderful costume details -- seams for grande
>> assiette sleeves on a youth, V-necks with lacing showing, wonderful stuff.
>> Some details are deliberately "foreign" or allegorical, particularly on
>> major characters, but many of the minor figures appear to be good
>> representations. I saw the painting in Brussels but took only a few
>> photos, I think because it was positioned or lit in such a way as to make
>> photographing awkward that day. But I have some great art-book
>> reproductions that show as much as my camera would have caught.
>>
>> --Robin
>>
>>
>> _______________________________________________
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>>
>
>
>_______________________________________________
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-- 
Jean Waddie
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Subject: [h-cost] a few historical costume books on ebay.
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Wandering through E-bay, and found a couple of books someone might be 
interested in. The first isn't my time period, or I would have bid myself.

17th & 18th C Fashion Plate Costume Book
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2852609591&category=48864
2 days to go, 1 bid

EVOLUTION of FASHION Book Costume & Style
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2852614949&category=48864
2 days to go, no bids

Costume & Fashion Art Concise History Book
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3547808230&category=2234
3 days to go, no bids

17th & 18th C Fashion Plate Costume Book
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2852609591&category=48864
2 days, 1 bid


fwiw,
Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: "Sarafina Sinclair" <ladysarafina@att.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] 16th century women's hats
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Hi All,

I am trying to prove [or disprove] a theory I have about flat caps being
worn by women in the 1500s in England. My theory is that flat caps as worn
by female re-enactors at ren faires and in the SCA were not worn by women in
England in the 16th century. There are two portraits which come close
(Katherine Parre in 1545 and Queen Elizabeth I in 1558), but those are not
exactly flat caps. I am defining a flat cap as a hat in which the top of the
crown, bottom of the crown, and brim have the same circumference, and the
crown is not gathered into the brim.

So, if you have any portraits, drawing, woodcuts, etc proving me wrong,
please let me know. I am in the process of writing a paper on the subject.

Thanks!

Harlie DesRoches

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From h-costume-bounces@indra.com  Mon Sep  1 18:15:49 2003
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Date: Mon, 01 Sep 2003 15:01:29 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] a few historical costume books on ebay.
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At 02:40 PM 9/1/2003 -0700, you wrote:
>17th & 18th C Fashion Plate Costume Book
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2852609591&category=48864
>2 days, 1 bid


hehehe, didn't mean to repeat myself. Here was the one I was trying for.

BOOK MOURNING DRESS COSTUME & SOCIAL HISTORY
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3547694056&category=268
3 days, 5 bids

Kimiko


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From h-costume-bounces@indra.com  Mon Sep  1 18:50:41 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 16th century women's hats
Date: Mon, 1 Sep 2003 15:52:00 -0700
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I can't picture at all this hat you are describing, it sounds like a pill
box that Jackie O would wear.  But I'm tired.  There is a quote from
Harrison's Description of England in Shakespeares Youth published in
Holinshed's Chronicle, 1577-87 about Flat Caps, but I'm not sure this is the
same type of cap you are referring to.

"They also wore flat Caps, both then and many yeares after, as well
Aprentizes as Journey-men and others, both at home and abroad, whom the
Pages of the Court in derision called 'Flat Caps.'

Sorry, don't know who "they" is referring to.  I just have in my head a
muffin cap, but you did say not gathered.  Any images of men in such caps?

Lisa Sinervo
www.ThrednedleStrete.com



----- Original Message -----
From: "Sarafina Sinclair" <ladysarafina@att.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 01, 2003 3:13 PM
Subject: [h-cost] 16th century women's hats


> Hi All,
>
> I am trying to prove [or disprove] a theory I have about flat caps being
> worn by women in the 1500s in England. My theory is that flat caps as worn
> by female re-enactors at ren faires and in the SCA were not worn by women
in
> England in the 16th century. There are two portraits which come close
> (Katherine Parre in 1545 and Queen Elizabeth I in 1558), but those are not
> exactly flat caps. I am defining a flat cap as a hat in which the top of
the
> crown, bottom of the crown, and brim have the same circumference, and the
> crown is not gathered into the brim.
>
> So, if you have any portraits, drawing, woodcuts, etc proving me wrong,
> please let me know. I am in the process of writing a paper on the subject.
>
> Thanks!
>
> Harlie DesRoches
>
> _______________________________________________
> 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  Mon Sep  1 19:30:12 2003
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From: "Sarafina Sinclair" <ladysarafina@att.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 16th century women's hats
Date: Mon, 1 Sep 2003 18:28:08 -0500
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Here is a portrait of Edward VI in a flat cap.
http://www.marileecody.com/edward3.jpg  Here is the portrait of Katherine
Parr that I was referring to. http://www.marileecody.com/parr-scrots.jpg
The hat is black against a black background, so it is REALLY hard to see any
detail on the hat. I think it's the same style of hat that Henry VIII is
usually pictured in. http://www.marileecody.com/henryfam.jpg  Jane Ashelford
calls it the "halo-brimmed bonnet." That style of hat seems to be a male hat
style also because this is the only portrait of a woman wearing it that I
have found. I can also find drawing of non noblemen wearing flat caps like
Edward VI, but none of women.

Harlie Des Roches


----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 01, 2003 5:52 PM
Subject: Re: [h-cost] 16th century women's hats


> I can't picture at all this hat you are describing, it sounds like a pill
> box that Jackie O would wear.  But I'm tired.  There is a quote from
> Harrison's Description of England in Shakespeares Youth published in
> Holinshed's Chronicle, 1577-87 about Flat Caps, but I'm not sure this is
the
> same type of cap you are referring to.
>
> "They also wore flat Caps, both then and many yeares after, as well
> Aprentizes as Journey-men and others, both at home and abroad, whom the
> Pages of the Court in derision called 'Flat Caps.'
>
> Sorry, don't know who "they" is referring to.  I just have in my head a
> muffin cap, but you did say not gathered.  Any images of men in such caps?
>
> Lisa Sinervo
> www.ThrednedleStrete.com
>
>

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From h-costume-bounces@indra.com  Mon Sep  1 20:39:26 2003
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Subject: Re: [h-cost] 16th century women's hats
Date: Mon, 1 Sep 2003 17:40:45 -0700
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Sarafina wrote:

>  Jane Ashelford
> calls it the "halo-brimmed bonnet." That style of hat seems to be a male
hat
> style also because this is the only portrait of a woman wearing it that I
> have found. I can also find drawing of non noblemen wearing flat caps like
> Edward VI, but none of women.
>
> Harlie Des Roches

can't recall images of women wearing such hats either, but will keep my eye
out.

Lisa


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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Mon, 01 Sep 2003 17:46:03 -0700
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> I am trying to prove [or disprove] a theory I have about flat caps
> being worn by women in the 1500s in England. My theory is that flat
> caps as worn by female re-enactors at ren faires and in the SCA were
> not worn by women in England in the 16th century. There are two
> portraits which come close (Katherine Parre in 1545 and Queen
> Elizabeth I in 1558), but those are not exactly flat caps. I am
> defining a flat cap as a hat in which the top of the crown, bottom of
> the crown, and brim have the same circumference, and the crown is not
> gathered into the brim.
> 
> So, if you have any portraits, drawing, woodcuts, etc proving me
> wrong, please let me know. I am in the process of writing a paper on
> the subject.

Kateryne Parr is amongst the earliest paintings where you see these 
types of caps. However, you can see (in some of Holbein's drawings) 
what is felt to be the very earliest use of flat caps and halo 
bonnets by women. 

The Francois Clouet painting of Elizabeth of Austria in the Louvre 
also has one. I only found one webphoto of the painting and it's so 
dark you can barely see it. You might find a better one than:
http://cartelfr.louvre.fr/cartelfr/visite?srv=car_not_frame&idNotice=1
070

The Princesse de Conde also wears one, but I couldn't find any 
webphotos of it at all. The painting I'm familiar with is (or was) in 
the Bibliotheque Nationale in Paris.

This was also called a court bonnet or a "taffeta pipkin" in the 16th 
C. The "pipkin" term was in use from 1565 to 1595, although they were 
apparently worn earlier. (The similar men's caps were worn from 
approximately 1535 until the end of the century.) The were generally 
worn over elaborately dressed hair, a linen coif, a jeweled caul or 
confining hair net.

As to whether the crown was pleated or gathered into the brim, that's 
a little more complicated. The Holbein drawing I'm thinking of is 
definitely of that type. Most of the others, including for men (such 
as the halo bonnet) did have the crown pleated in, albeit in such a 
manner that it was soft and flat, not the high crowned types like you 
see in Janet Arnold's Patterns of Fashion 1560-1620 or the arch 
brimmed hats like on Lady Kylson that has been discussed earlier.

This is what I came up with on very quick looks, so I'm sure you can 
come up with more by looking through the art work from the period 
outside of costume books (which sometimes only show the most common 
forms, not all the forms that were in use in the period.)

Kat (aka "Hat Kat")
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Early plaid?
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At 6:10 PM -0400 8/31/03, Nancy Kiel wrote:
>In Rogier van der Weyden's Crucifixtion in a Church, c 1445, center 
>of Altar of the Seven Sacraments, the woman behind the cross appears 
>to have a "plaid" lining to her over-dress.  (The plaid is very 
>open, so could be considered a check?)  Has anyone seen anything 
>similar in other paintings?  I always associate plaids with 
>Scotland, of course.

(Robin noted that in this painting the "plaid" effect is an illusion, 
but addressing the more general question ...)

It's a very modern phenomenon for plaid/tartan patterns to be 
strongly associated with Scotland (pretty much a product of the 
Victorian "re-discovery" of Scottish tartans, and the associated fad 
for Scottish kitsch).  Once you start looking for them in historic 
art or in textile archaeology you start realizing how mistaken that 
association is.  I know there have been threads about this topic 
before, so a search in the archives may turn up lists of examples. 
As a general summary, examples of plaid/checked cloth used as body 
garments seems to have been dictated and restricted by fashion trends 
-- i.e., it never seems to have been a random option, but generally 
occurs as part of an identifiable fashion fad -- but in other uses, 
such as household furnishings, plaid does seem to have been a 
relatively random option in many times and places.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Hey, Jean, what were you reading this in? It sounds very interesting,
and just the sort of thing I'm starting to explore....
--sue

Jean Waddie wrote:
> 
> I was reading about this recently (and I'm sure others will correct my
> details, since cloth manufacture is certainly not my speciality).  In
> Saxon/Viking times, you get lots of stripes and checks, they're using
> worsted yarn, and very little fulling.  By about 1200, they're using
> woollen yarn (carded not combed, with more short fluffy fibres), dyed in
> the piece instead of in the skein, and heavily fulled and clipped.
> Those processes would blur woven patterns, so fabrics are more likely to
> be plain.
> 
> You can't identify cause and effect, but the fabric type and the pattern
> (or plain) seem to go together.  Since well-fulled, piece-dyed fabrics
> were considered better quality, you can see how stripes and checks would
> not be favoured by the upper classes.  I don't know how long that
> preference lasted, however.
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Sarafina Sinclair wrote:

 > I am defining a flat cap as a hat in which the top of the
> crown, bottom of the crown, and brim have the same circumference, and the
> crown is not gathered into the brim.

Do you have evidence for this construction?  The only extant flat cap 
that I know of that's not knitted to shape is in Arnold's Patterns of 
Fashion and is pleated to the brim (p. 15, figs. 80-82).  I submit that 
this is more likely the actual construction of what we are calling a 
flat cap.  It can certainly look like a flat cap, as you can see with mine:
http://www.faucet.net/costume/cap.html
which is also pleated to the brim.  The non-pleated/gathered 
construction of circle and donut shapes that is so common among 
reenactors is actually more difficult to sew than one that uses a larger 
circle for the crown pleated into the brim.  The latter, depending on 
how it is worn, can look flat or not.

> So, if you have any portraits, drawing, woodcuts, etc proving me wrong,
> please let me know. I am in the process of writing a paper on the subject.

If you're only looking at England, here are some examples.  (In Germany, 
of course, you find more, and there are a couple from Spain as well.)

"A lady aged thirty called Queen Elizabeth I" by an unknown artist, 
1563.  Arnold, Queen Elizabeth's Wardrobe Unlock'd, p. 139, fig. 222. 
(I am slightly dubious that this is actually from England, as it looks 
more Northern to me in style, but for the purposes of your paper, 
Arnold's opinion should probably take precedence!)

Detail from a christening procession...on 30 September 1565...in the 
Royal Chapel at the Palace of Westminster....  Ibid, p. 264, fig. 351.

a possibility, though not worn entirely flat: "An unknown lady" by Hans 
Eworth, 1565-8.  Hearn, Karen, ed.  Dynasties:  Painting in Tudor and 
Jacobean England 1530-1630, p. 72.

a contestant for a "halo brimmed bonnet":  "An unknown lady" by Hans 
Holbein the Younger, 1530s-40s.  Ibid, p. 148.

Cheers,
Melanie Schuessler
http://www.faucet.net/costume

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: [h-cost] dating Ultra Kraft buttons......
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Someone on another list is trying to date some buttons.  Here's her post.

"I recently acquired the fabric and notion stash of a friend of my mother's.  Among her buttons were cards of baby buttons.  Each card has a picture of a yellow haired baby in a pink dress.  The baby is holding a string that is tied to a white duck on wheels.  There is a paned window which has a small button sewn in each of the panes.  

The bottom of the card says "genuine ocean pearl".  The name of the company is Ultra Kraft.

The picture on the button card reminds me of something from the forties- especially because of the duck on wheels, and also because the baby looks kind of like the Gerber baby."

Has anyone run into these buttons before.  The poster is from the US.

Thanks,

Lisa Sinervo
www.ThrednedleStrete.com
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Date: Mon, 1 Sep 2003 23:51:08 -0400 (EDT)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th century Iron Plate corsets
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 I always assumed that it meant upright, stiff, and flattened at the bust,
though now that I think about it I don't know where I came by that
assumption...

Drea


On Mon, 1 Sep 2003, Lisa Sinervo wrote:

> looks like 1603 was the date of Florio's Translation of Montaige's essays
> from 1580-1592.  I'm going to keep an eye out for "spangolized" - not sure
> what that means.  Although looking at the original work would probably be
> more useful.  If I happen to stumble across this I'll let you know.
>
> Lisa
>
>
>
> ----- Original Message -----
> From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
> To: <h-costume@indra.com>
> Sent: Monday, September 01, 2003 8:03 AM
> Subject: Re: [h-cost] 16th century Iron Plate corsets
>
>
> > Actually Montaigne died in 1592 so the translation you quote postdates
> > his life. I wonder what the translator meant by "spangolized"?
> >
> > Kate Bunting
> > Library, University of Derby
> >
>
>
>
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Subject: [h-cost] tiny (sz 4) Issey Miyake leather jodhpurs
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ebay find:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2852350368&category=46810
thanks
Leslie
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Subject: Re: [h-cost] 16th century Iron Plate corsets
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> I would guess that "spangolized" means something to do with Spain.
> Like, "made in the Spanish style".  Just a guess based on what I know of
> Elizabethan period mis-spellings of terms related to Spain :)

I was wondering if it meant anything like spangled. You know with all those
variant spellings we so love.

Spangles meaning those wee sequin things.. which are cut from a piece of
metal.. the metal has holes left behind... one of those iron corsets looks
like it's had a whole lot of "spangles" punched from it.

Just a crazy wild guess that may be rather tenuous;)

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] 16th century Iron Plate corsets
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I thought the same thing.  Looks like spangles, but it seemed a bit odd in
context.  Thanks for the previous post.  I had read sometime ago Valerie
Steele's book as my local library had it, but I couldn't remember exactly
why she determined the metal corsets were corrective in nature and not a
normal fashion item.

Lisa
www.ThrednedleStrete.com


----- Original Message -----
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, September 02, 2003 3:52 AM
Subject: Re: [h-cost] 16th century Iron Plate corsets


> > I would guess that "spangolized" means something to do with Spain.
> > Like, "made in the Spanish style".  Just a guess based on what I know of
> > Elizabethan period mis-spellings of terms related to Spain :)
>
> I was wondering if it meant anything like spangled. You know with all
those
> variant spellings we so love.
>
> Spangles meaning those wee sequin things.. which are cut from a piece of
> metal.. the metal has holes left behind... one of those iron corsets looks
> like it's had a whole lot of "spangles" punched from it.
>
> Just a crazy wild guess that may be rather tenuous;)
>
> michaela
> http://costumes.glittersweet.com
>
>
> _______________________________________________
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Subject: Re: [h-cost] 16th century women's hats
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> Sarafina Sinclair wrote:
>
>  > I am defining a flat cap as a hat in which the top of the
> > crown, bottom of the crown, and brim have the same circumference, and
the
> > crown is not gathered into the brim.
>

<Melanie wrote: Do you have evidence for this construction?  The only extant
flat cap
> that I know of that's not knitted to shape is in Arnold's Patterns of
> Fashion and is pleated to the brim (p. 15, figs. 80-82).  I submit that
> this is more likely the actual construction of what we are calling a
> flat cap.  It can certainly look like a flat cap, as you can see with
mine:
> http://www.faucet.net/costume/cap.html
> which is also pleated to the brim.  The non-pleated/gathered
> construction of circle and donut shapes that is so common among
> reenactors is actually more difficult to sew than one that uses a larger
> circle for the crown pleated into the brim.  The latter, depending on
> how it is worn, can look flat or not.

This circle/donut shape also wastes more fabric than the pleating
construction.  I've seen this pattern on the internet and was very puzzled
by it myself, mentally I don't even connect this non-gathered hat with "flat
cap." though no doubt it works.

Perhaps the paper might morph into the subject of the construction of flat
caps.

Lisa


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Subject: [h-cost] Looking for Margo
Date: Tue, 2 Sep 2003 09:13:05 -0400
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Please excuse this email!

If Margo Anderson could email me privately, I would greatly appreciate it.
Thanks!

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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th century women's hats
Date: Tue, 02 Sep 2003 13:55:55 +0000
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Melanie wrote:

>>Do you have evidence for this construction?  The only extant flat cap 
that I know of that's not knitted to shape is in Arnold's Patterns of 
Fashion and is pleated to the brim (p. 15, figs. 80-82).  

No I don't. The construction that I am describing it what you will find on 
most Tudor/Elizabethan costuming websites.

Melanie wrote:
>>I submit that this is more likely the actual construction of what we are 
calling a flat cap.  It can certainly look like a flat cap, as you can see 
with mine:

I would describe the hat you made as a soft cap and there are plenty of 
portraits of women of various social classes in England wearing that hat. 
There are portraits of men wearing decidedly flatter caps as well as the 
softer caps.

I think you are helping me to prove my theory that the tudor flat cap pattern 
that you find all over the place isn't an accurate representation of a tudor 
cap and most certainly wasn't worn by women.

Melanie wrote:

>>If you're only looking at England, here are some examples.  (In Germany, 
of course, you find more, and there are a couple from Spain as well.)

>>"A lady aged thirty called Queen Elizabeth I" by an unknown artist, 
1563.  Arnold, Queen Elizabeth's Wardrobe Unlock'd, p. 139, fig. 222. 

I have a color reprint of that portrait and it is definitely more Swedish in 
its style. This is supposedly a portrait that Queen Elizabeth had made for 
Erik I of Sweden when she was allowing him to court her. Also, that hat is 
wired and I haven't seen anyone recreating the look of that hat.

I am definitely looking specifically at England because generally the women I 
see wearing a flat cap are wearing Tudor garb.

Thank you for all of your input and please keep it coming!

Harlie Des Roches
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From: Hope Greenberg <hope.greenberg@uvm.edu>
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Harlie DesRoches asked:
 > I am trying to prove [or disprove] a theory I have about flat caps
 > being worn by women in the 1500s in England.
 > So, if you have any portraits, drawing, woodcuts, etc proving me
 > wrong, please let me know.

Not proving anything, in fact, muddying the waters, but in case you 
don't have these, here are two images to add to your collection of hats 
that are not the flat cap but of roughly the same shape, from Holbein:
http://www.uvm.edu/~hag/sca/tudor/dessinspl28.jpg
http://www.uvm.edu/~hag/sca/tudor/dessinspl29.jpg

- Hope

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In a message dated 8/31/2003 7:49:34 AM Eastern Standard Time, 
beads@traknet.com writes:

> Currently
> they do not have an e-mail address!  At least not one that I could find.
> 

Their website is <A HREF="www.athm.org">www.athm.org</A>
Ann Wass
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From: kat@grendal.rain.com
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> Harlie DesRoches asked:
>  > I am trying to prove [or disprove] a theory I have about flat caps
>  > being worn by women in the 1500s in England. > So, if you have any
>  portraits, drawing, woodcuts, etc proving me > wrong, please let me
>  know.
> 
> Not proving anything, in fact, muddying the waters, but in case you
> don't have these, here are two images to add to your collection of
> hats that are not the flat cap but of roughly the same shape, from
> Holbein: http://www.uvm.edu/~hag/sca/tudor/dessinspl28.jpg
> http://www.uvm.edu/~hag/sca/tudor/dessinspl29.jpg

The second one (129) is felt to be a front on view of a woman wearing 
a halobonnet.

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Tue Sep  2 13:22:51 2003
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Date: Tue, 2 Sep 2003 18:12:36 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Early plaid?
References: <Pine.LNX.4.10.10308311805400.27530-100000@shell.nightowl.net>
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I was preparing a talk (which never happened) on the production of 
clothing in the 11th-12th century, from fibre to garment, covering 
spinning, weaving, dyeing, garment construction.  Most of the 
information came from the Museum of London Textiles and Clothing book, 
the section on textile production.  I picked up other snippets from 
other books and websites.  I think the MoL book mentioned something 
about worsted and striped patterns, but I think the full connection was 
my own.

It's just so boring getting into the late 12th/early 13th century, when 
everything's so very plain!

Jean


Sue Clemenger <mooncat@in-tch.com> wrote
>Hey, Jean, what were you reading this in? It sounds very interesting,
>and just the sort of thing I'm starting to explore....
>--sue
>
>Jean Waddie wrote:
>>
>> I was reading about this recently (and I'm sure others will correct my
>> details, since cloth manufacture is certainly not my speciality).  In
>> Saxon/Viking times, you get lots of stripes and checks, they're using
>> worsted yarn, and very little fulling.  By about 1200, they're using
>> woollen yarn (carded not combed, with more short fluffy fibres), dyed in
>> the piece instead of in the skein, and heavily fulled and clipped.
>> Those processes would blur woven patterns, so fabrics are more likely to
>> be plain.
>>
>> You can't identify cause and effect, but the fabric type and the pattern
>> (or plain) seem to go together.  Since well-fulled, piece-dyed fabrics
>> were considered better quality, you can see how stripes and checks would
>> not be favoured by the upper classes.  I don't know how long that
>> preference lasted, however.
>_______________________________________________
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-- 
Jean Waddie
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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Date: Tue, 02 Sep 2003 17:38:08 +0000
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Subject: [h-cost] wedding at bermondsey
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Hi All,

Does anyone know where I can see a scan of the Wedding at Bermondsey painting?

Harlie Des Roches
> 
> > Harlie DesRoches asked:
> >  > I am trying to prove [or disprove] a theory I have about flat caps
> >  > being worn by women in the 1500s in England. > So, if you have any
> >  portraits, drawing, woodcuts, etc proving me > wrong, please let me
> >  know.
> > 
> > Not proving anything, in fact, muddying the waters, but in case you
> > don't have these, here are two images to add to your collection of
> > hats that are not the flat cap but of roughly the same shape, from
> > Holbein: http://www.uvm.edu/~hag/sca/tudor/dessinspl28.jpg
> > http://www.uvm.edu/~hag/sca/tudor/dessinspl29.jpg
> 
> The second one (129) is felt to be a front on view of a woman wearing 
> a halobonnet.
> 
> Kat
> <kat@redtrollforge.com>
> 
> 
> _______________________________________________
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Kat said:
 > The second one (129) is felt to be a front on view of a woman wearing
 > a halobonnet.

Halobonnet? I'm not familiar with that term. Is it local (to this list) 
shorthand for something? Any handy pictures/links to an example? Thanks.

- Hope


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> Halobonnet? I'm not familiar with that term. Is it local (to this
> list) shorthand for something? Any handy pictures/links to an example?
> Thanks.

I believe that halo bonnet is actually what they were called in the 
period. I think they got the name for the way they usually had an 
ostrich feather curled around the brim.

One of them which is most commonly found in costuming books is the 
one on Henry VIII by Holbein:
http://www.artchive.com/artchive/H/holbein/holbein_henry_viii.jpg.html
or another by the same artist:
http://www.abcgallery.com/H/holbein/holbein59.html

or a nice one of Edward VI:
http://www.abcgallery.com/H/holbein/holbein45.html

It was one of several types of "court bonnets" worn in the 16th C. 
Certainly not shorthand from this list.

Kat
<kat@redtrollforge.com>


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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] French dress 1496-1498 corset or not
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I believe that, during this period, the shaping would have been performed
by a supportive, front-laced kirtle beneath the gown.  You can see the
shape and curve of her breasts under the gown.

If you're a bit more sturdily built than the lissom lady in the picture,
I'd suggest using rope stiffening or perhaps multiple layers of canvas in
the undergown to get the flat look you're aiming for.

Good luck!  Lovely style.

Drea

On Mon, 25 Aug 2003, Ella Lynoure Rajamaki wrote:

> On Mon, 25 Aug 2003, Deredere Galbraith wrote:
>
> > It is French 1496-1498
> > http://www.deredere.dds.nl/Tudor/Tudor.jpg
> > It is the blue orange dress in the front
> > of the picture.
> > I wonder if this dress is worn with a corset or that the dress is
> > stiffened.
>
> The world wonders with you. Exact time when people started wearing stays
> in unknown, but first survived corset is from 100 year later than the date
> you gave for the painting.
>
> I'd personally just use hair canvas and possibly  some boning the the
> dress itself
>
> --
> Lynoure Rajamaki
> lynoure@tuug.fi
> http://www.lynoure.com
>
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> If you're a bit more sturdily built than the lissom lady in the picture,
> I'd suggest using rope stiffening or perhaps multiple layers of canvas in
> the undergown to get the flat look you're aiming for.

And check out the Privy Accounts of .. well they are on the richard III
group's website (US not UK group) There are accounts of fabric for gowns,
kirtles and bokeham lining (full lining in some cases, so I'm thinking it's
not as stiff as out buckram) and canvas in only enough for a bodice. They
have lists of fabric for kirtles, linings and canvas for them too:)

The accounts are about 1475 so definately appropriate for this era:)

michaela
http://costumes.glittersweet.com


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ladysarafina@att.net wrote:
> Melanie wrote:
>
>>Do you have evidence for this construction?  The only extant flat cap 
>> that I know of that's not knitted to shape is in Arnold's Patterns of 
>> Fashion and is pleated to the brim (p. 15, figs. 80-82).  
> 
> No I don't. The construction that I am describing it what you will find on 
> most Tudor/Elizabethan costuming websites.

Sure, but where did they get it?  What I'm saying is that I think this 
construction is reverse-engineered by modern folks who are trying to get 
the flat cap look.  That may be what you're thinking too, but I'm a 
little confused by the rest of what you said:

> Melanie wrote:
> 
>>I submit that this is more likely the actual construction of what we are 
>> calling a flat cap.  It can certainly look like a flat cap, as you can see 
>> with mine:
> 
> I would describe the hat you made as a soft cap and there are plenty of 
> portraits of women of various social classes in England wearing that hat. 
> There are portraits of men wearing decidedly flatter caps as well as the 
> softer caps.

I guess I just don't see that much difference between what you're 
calling a soft cap and what you're calling a flat cap.  I'm also 
interested in pictures of women wearing 'soft' caps--could you list 
some?  Maybe that would help me understand the distinction that you're 
making.  From what I can tell, all of these are or could be constructed 
the same way, but they are worn differently.  The really flat ones just 
sit higher on the head, so the head doesn't poke up into the crown.  The 
less-flat ones sit lower so that the head does poke into the crown, or 
they have the crown shoved to one side so you can see the pleats, or the 
crown is a little puffier and possibly stuffed and/or stiffened with 
something.

> I think you are helping me to prove my theory that the tudor flat cap pattern 
> that you find all over the place isn't an accurate representation of a tudor 
> cap and most certainly wasn't worn by women.

So you're saying (a) that the flat cap pattern on most Tudor/Elizabethan 
websites (circle plus three donuts) probably isn't correct and (b) that 
there's a difference between flat caps and soft caps and (c) that the 
former weren't worn by women.  Yes?  So if the pattern that's out there 
isn't correct, and you don't think that flat caps are pleated like soft 
caps, how are flat caps made?  (This is one part that confused me.)

> I have a color reprint of that portrait and it is definitely more Swedish in 
> its style. This is supposedly a portrait that Queen Elizabeth had made for 
> Erik I of Sweden when she was allowing him to court her. 

That would explain it.

>  Also, that hat is wired and I haven't seen anyone recreating the look 
of that hat.

How do you know it's wired?

> I am definitely looking specifically at England because generally the women I 
> see wearing a flat cap are wearing Tudor garb.

Can you give me some examples?  I don't remember seeing Tudor ladies in 
flat caps (other than the Catherine Parr that you cited earlier), but 
then I concentrate later in the century.  Again confusion:  I thought 
you were saying earlier that women didn't wear the flat cap.

Thanks for the interesting discussion,
Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Early plaid?
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Status: RO

Aaah...that book I actually own (bought at the MoL last year).  It is,
however, fostering at a friend's house at the moment.  Hmmm.....
--sue, who's been learning to spin this summer, and whose brain got all
caught up in worsted and woolen distinctions.....

Jean Waddie wrote:
> 
> I was preparing a talk (which never happened) on the production of
> clothing in the 11th-12th century, from fibre to garment, covering
> spinning, weaving, dyeing, garment construction.  Most of the
> information came from the Museum of London Textiles and Clothing book,
> the section on textile production.  I picked up other snippets from
> other books and websites.  I think the MoL book mentioned something
> about worsted and striped patterns, but I think the full connection was
> my own.
> 
> It's just so boring getting into the late 12th/early 13th century, when
> everything's so very plain!
> 
> Jean
> 
> Sue Clemenger <mooncat@in-tch.com> wrote
> >Hey, Jean, what were you reading this in? It sounds very interesting,
> >and just the sort of thing I'm starting to explore....
> >--sue
> >
> >Jean Waddie wrote:
> >>
> >> I was reading about this recently (and I'm sure others will correct my
> >> details, since cloth manufacture is certainly not my speciality).  In
> >> Saxon/Viking times, you get lots of stripes and checks, they're using
> >> worsted yarn, and very little fulling.  By about 1200, they're using
> >> woollen yarn (carded not combed, with more short fluffy fibres), dyed in
> >> the piece instead of in the skein, and heavily fulled and clipped.
> >> Those processes would blur woven patterns, so fabrics are more likely to
> >> be plain.
> >>
> >> You can't identify cause and effect, but the fabric type and the pattern
> >> (or plain) seem to go together.  Since well-fulled, piece-dyed fabrics
> >> were considered better quality, you can see how stripes and checks would
> >> not be favoured by the upper classes.  I don't know how long that
> >> preference lasted, however.
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> 
> --
> Jean Waddie
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Tue Sep  2 23:16:16 2003
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Date: Tue, 2 Sep 2003 23:18:03 -0400
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Subject: [h-cost] Some News
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Status: RO

This past week, I was on my airplane trip back from New Orleans to
Cincinnati to
Richmond, I was feeling like a celebrity.  I was working on tracing
embroidery patterns from 1850s-1920s.  It seemed like everyone who passed
asked what I was doing and then it lead to what my business was.  Then they
wanted my business card with our website address.  I was sitting in a sports
bar in Cincinnati for three and a half hours killing time.  Half of the
people were watching me, the other half a football game.  People on the
airplanes were watching too.  I felt like Mr. Drawing Board on Captain
Kangaroo.  Good thing my teacher mode kicked in... learned then not to be
bothered people are watching and asking questions.   Who would have thought
so many people would be interested in old embroidery patterns!!!!

The second set of news... kinda slipped my mind.  Back in June a reporter
from the Associated Press (AP) interviewed me about the history of pants in
America.  With all the crazy things going on, I forgot to watch for the
article in the newspapers.  W-e-l-l the article started running on Aug. 11.
The way the AP works is that the article can be run in any of the Associated
Press subscribed newspapers/TV news shows any time within a six month
period.  In
August, I found that the article ran in the following newspapers, New York
Times, Boston Globe, Palm Beach, and Charleston, South Carolina.

Here are some links to the article.  The interview with me is in the last
three paragraphs:

http://www.boston.com/yourlife/fashion/articles/2003/08/11/fashion_liberating_pants/

http://www.tcpalm.com/tcp/living/article/0,1651,TCP_1043_2208216,00.html

http://www.charleston.net/stories/082203/fas_22pants.shtml

For those who recall this reporter... this is the same one who interviewed
me last year about 1940s fashions and put it in an article.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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From h-costume-bounces@indra.com  Tue Sep  2 23:54:02 2003
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Subject: Re: [h-cost] 16th century women's hats
Date: Tue, 2 Sep 2003 22:52:46 -0500
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Status: RO

For the record, I am totally excited about this and apologize for not being
clearer. Let me try again...

My theory is that the completely flat, 3 donut + 1 complete circle of
fabric, cut and construction method of making "tudor flat caps" is not a hat
style that was worn by women of any social class in England in the 16th
century.

> > Melanie wrote:
> Sure, but where did they get it?  What I'm saying is that I think this
> construction is reverse-engineered by modern folks who are trying to get
> the flat cap look.

I hadn't gone so far as to figure out where the pattern came from. Reverse
engineering is just as plausible as any other explanation. What is lacking
in all these descriptions of how to make the cap is the evidence supporting
the cut and construction; no extant garments are referred to, no
portraits/paintings/woodcuts/etc are shown. It is asserted, however, that
both men and women wore them.

> > Melanie wrote:
> I guess I just don't see that much difference between what you're
> calling a soft cap and what you're calling a flat cap.

>From what I am finding, there is no difference in terms of what was worn in
period. A "flat cap" is called such (I think) because it smushes down flat
on one's head. I call a soft cap soft because the crown is one piece
gathered into the crown with no defined edge, thus being soft. (like the one
you're wearing in the photo).

In terms of my definition in my hypothesis, a flat cap is truly flat. It is
made of 3 donut shaped pieces and 1 complete circle. The complete circle is
the top of the crown. It is sewn to one of the donuts at the outer edge.
This creates the crown. The remaining 2 donuts are sewn together at the
outer edge to create the brim. The crown is then sewn to the brim at the
inner edge and voila, a hat.

> > Melanie wrote:
> How do you know it's wired?

It's purely my guess. [So, I'm guilty of making generalizations too]. The
way that the hat is standing up would be difficult to achieve without wire
unless it was starched to high heaven and then some.

>>>I said earlier:
> > I am definitely looking specifically at England because generally the
women I
> > see wearing a flat cap are wearing Tudor garb.
>Then you said:
> Can you give me some examples?  I don't remember seeing Tudor ladies in
> flat caps (other than the Catherine Parr that you cited earlier), but
> then I concentrate later in the century.  Again confusion:  I thought
> you were saying earlier that women didn't wear the flat cap.

The women I was referring to in that statement are women re-enactors. This
whole thing came up because I was trying to document the 3 donuts + 1 circle
style of hat. Since I had seen it alot, I assumed that it was period and
that it would be easy to document. Well, I was wrong and have since gone
looking for the answers.

That should make everything as clear as mud. :D

Harlie

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] Some News
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Status: RO

I bet this must give you such a buzz.  Hour and hours of webbing,
researching for years and years and then......."Penny E. Dunlap Ladnier from
Chesterfield, Va., owner of costumegallery.com, an educational historic
fashion Web site" says........    ;)

as an Aussie would say........"good on ya!"

Cheers,

Lisa




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Subject: [h-cost] green
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Status: RO

I had a conversation today about Renaissance faire costuming with someone 
who new nothing about it.  Her contribution to the conversation was that 
only prostitutes wore green in the English Elizabethan.  I know that I have 
heard that the term greensleeves referred to prostitutes because of the 
grass stains, but I had never heard this theory about green before.

Does anyone know if there is any substance to this for any historical time 
period?  Has any color traditionally been associated with prostitution 
anywhere?

thanks, Maryann, who coincidentally has a green Irish dress to wear to Renn 
faires.

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Well, since I've seen a beautiful portrait of Queen Elizabeth in a dark green 
gown, I'd say that was an urban legend.

Kathleen Norvell
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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: [h-cost] wedding at Bermondsey
Date: Tue, 2 Sep 2003 22:09:10 -0700
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I second this request.  I know that I saw the picture somewhere recently,
but no search seems to bring it up and I need it for some details.

Regina
>
> Hi All,
>
> Does anyone know where I can see a scan of the Wedding at
> Bermondsey painting?
>
> Harlie Des Roches
> >


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] green
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On Tue, 2 Sep 2003, MaryAnn Jones wrote:

> I had a conversation today about Renaissance faire costuming with
> someone who new nothing about it.  Her contribution to the
> conversation was that only prostitutes wore green in the English
> Elizabethan.  I know that I have heard that the term greensleeves
> referred to prostitutes because of the grass stains, but I had never
> heard this theory about green before.
> 
> Does anyone know if there is any substance to this for any historical
> time period?  Has any color traditionally been associated with
> prostitution anywhere?

We've had some lengthy discussions on this issue before. You might check
the archives; look in December 1998 - January 1999 for a thread called
"Color associations" for one good discussion (I happened to have had a
post saved out from that one).

The short version is that there are some references that seem to associate
green with "loose morals" -- e.g. "to give a green gown" (presumably after
a roll in the grass). However, this metaphor doesn't seem to translate
into any actual tradition of wearing or not wearing green by particular
types of women. Green does appear with reasonable frequency in Elizabethan
inventories.

A lot has been made of the song "Greensleeves" as referring somehow to a
prostitute, but it's worth noting that the lady in that song did *not*
give up her favors, despite the quantity of gifts her suitor lavished on
her ... thus his complaint in the song. It's possible the lady's name was
chosen because it did have an implication in period, but my guess is that
the myth of the meaning of the color green has been laid over the song by
later people looking for a connection.

It's also worth noting that "green" has also frequently appeared in song
and story as a color worn by fairies (not the cute little Victorian types,
but the dangerous mystical types). The green magical girdle given to Sir
Gawain, and the Green Knight he fights, are just a couple of obvious
examples. When a mysterious person shows up dressed in green, that's a
clue that s/he may not be of this world.

Green is also used in literature (including Shakespeare) as a color worn
by lovers and young people. And of course it's associated with May
celebrations, which plays back into that same tradition of love and youth
and festivity, with perhaps a little hanky-panky thrown in.

Methinks your Renfaire acquaintance picked up some "received wisdom" based
on slim evidence, oversimplified with repetition, and codified into urban
legend.

--Robin


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> I had a conversation today about Renaissance faire costuming with someone
> who new nothing about it.  Her contribution to the conversation was that
> only prostitutes wore green in the English Elizabethan.  I know that I
have
> heard that the term greensleeves referred to prostitutes because of the
> grass stains, but I had never heard this theory about green before.

lol! And someone just mentioned that you should never wear red to a
Renaissance fair for the exact same reason;)

I pointed out a few examples of QEI wearing red;) And a few other notable
upper class type peoples;)

michaela
http://costumes.glittersweet.com


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michaela wrote:
>>heard that the term greensleeves referred to prostitutes because of the
>>grass stains, but I had never heard this theory about green before.
> lol! And someone just mentioned that you should never wear red to a
> Renaissance fair for the exact same reason;)

And any color of blue is only for servants, and purple only for royalty, 
and, and, and....

It's obvious, then, that the only thing a conscientious person can wear 
to a RenFaire is a gown made out of transparent vinyl.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

_Traveling Dysshes_ A cookbook from medieval and renaissance sources, by 
my friend Pat McGregor, is for sale on eBay.  Check it out!

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3547211929&category=11108
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Sarafina Sinclair wrote:

> My theory is that the completely flat, 3 donut + 1 complete circle of
> fabric, cut and construction method of making "tudor flat caps" is not a hat
> style that was worn by women of any social class in England in the 16th
> century.

Ok.

> I hadn't gone so far as to figure out where the pattern came from. Reverse
> engineering is just as plausible as any other explanation. What is lacking
> in all these descriptions of how to make the cap is the evidence supporting
> the cut and construction; no extant garments are referred to, no
> portraits/paintings/woodcuts/etc are shown. It is asserted, however, that
> both men and women wore them.

Right, but (at the risk of repeating myself) because there is no 
evidence for this construction, and because there IS evidence for the 
pleated style, and because you can get the flat cap look with a pleated 
crown, and because it wastes fabric, and because it basically makes the 
hat harder than it needs to be to construct, I think that the 1 circle/3 
donuts cut is historically incorrect.

If this is true, your hypothesis is based on a false premise.

My hypothesis is that the 1 circle/3 donut construction was not used at 
all in the 16th century, that the pleated crown construction was used to 
produce looks from 'flat cap' to 'soft cap', and that the pleated crown 
hats were more commonly worn by men than women (of course, women had a 
lot more choices in headgear).

> The women I was referring to in that statement are women re-enactors. This
> whole thing came up because I was trying to document the 3 donuts + 1 circle
> style of hat. Since I had seen it alot, I assumed that it was period and
> that it would be easy to document.

I think it would be easier for you to start at the other end of the 
research process.  You're starting with a modern finished product, 
assuming that it's period, and trying to document it.  It might help to 
throw out the idea of the modern finished product and research what 
sorts of things like it existed in period, who wore them, how they wore 
them, how they were constructed, and what they were made of.

You would have the same trouble starting with a modern leather, 
front-laced bodice and trying to document it.  Sure, lots of people wear 
them, but trying to find historical evidence for them would lead you in 
circles if you were assuming they were correct.

Just out of curiosity, for whom are you writing this paper?

Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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From: Sue Clemenger <mooncat@in-tch.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th century women's hats
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It could also be felted, on lined in felt or something else that serves
as some sort of malleable stiffener....
My two early morning cents' worth..
--sue

Sarafina Sinclair wrote:
> 

> > > Melanie wrote:
> > How do you know it's wired?
> 
> It's purely my guess. [So, I'm guilty of making generalizations too]. The
> way that the hat is standing up would be difficult to achieve without wire
> unless it was starched to high heaven and then some.
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Yeah....I *want* that dress some day!
--sue

Appin1@aol.com wrote:
> 
> Well, since I've seen a beautiful portrait of Queen Elizabeth in a dark green
> gown, I'd say that was an urban legend.
>
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It's obvious, then, that the only thing a conscientious person can wear 
to a RenFaire is a gown made out of transparent vinyl.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Thank you for my first great laugh of the day.   GOOD ONE !!

Diane
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Subject: Re: [h-cost] 16th century women's hats
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>My hypothesis is that the 1 circle/3 donut construction was not used at 
>all in the 16th century, that the pleated crown construction was used to 
>produce looks from 'flat cap' to 'soft cap', and that the pleated crown 
>hats were more commonly worn by men than women (of course, women had a lot 
>more choices in headgear).

What about knitted construction?  I know there were cap knitters, and I 
think that Rutt's book on the history of hand-knitting has either a whole 
knitted "flat cap" or identifiable parts of same.  IIRC, these were felted, 
and, if so, would have looked very much like the ones in the Holbein 
pictures first mentioned.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

              //// \\\
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Elizabeth????  The bastard daughter of the whore Anne Boleyn???  Of course
she would wear green!  ;-)

Lisa Sinervo
www.ThrednedleStrete.com


----- Original Message -----
From: <Appin1@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, September 02, 2003 9:43 PM
Subject: Re: [h-cost] green


> Well, since I've seen a beautiful portrait of Queen Elizabeth in a dark
green
> gown, I'd say that was an urban legend.
>
> Kathleen Norvell
> _______________________________________________
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From h-costume-bounces@indra.com  Wed Sep  3 09:53:14 2003
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I've been doing a bit of reading lately on the sealing of cloth and the use of lead seals and David Egan does mention that different colours were taxed at different rates.  Unfortunately, no specific reference to any one document he bases this on that I can order and find which colours were taxed what.  (wouldn't research be nice if it was this easy!!)  I've quite a bit more available to read on this but I thought I would ask if anyone knows more about this.

The renfair crowd does talk about purple being taxed higher, so someone might know at least something about this. It does appear it was not just a purple rule, but a taxation system that involved probably all colours.  I'm most interested in England.

Thanks,

Lisa Sinervo
www.ThrednedleStrete.com
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Date: Wed, 03 Sep 2003 15:57:44 +0200
From: Deredere Galbraith <triade@kabelfoon.nl>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] was pictures of my 16ct dress/ problems
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Hi,

Kimiko Small wrote:

> At 07:17 PM 9/1/2003 +0200, you wrote:
>
>> There is some wrinkeling at the front of the bodice.
>> But I don't mind, untill now my bodices were alway's too small.
>
>
>
> Hi Deredere,
>
> I love how the dress is coming along. It looks wonderful, and I love 
> how you did the lacing up the side back. I also like the height of the 
> front of the dress. Some people may wonder why your bosom ISN'T 
> showing like two ripe melons on a platter, but I like it. I also like 
> what you are doing for the headpiece.

Thanks! The bodice is from the pattern of Eleonora's gown in Patterns of 
fashion. I think this height of neckline is quite normal for 16th 
century gowns. With some exeptions of course...

>
>
> To be honest, that wrinkling in the front is bothering me. I know how 
> that can go as my first nobles dress came out wrinkled in a similar 
> manner, and I didn't care because it was done and I could wear it. But 
> as I did, I got some snickers and "oh, dear" looks from other people 
> that have made me realize that I need to adjust my bodice into fitting 
> better, which I will do if I ever get back into that size (which I am 
> working on). 

Your right.

>
>
> To help you from getting that "oh, dear" look, I hope I can provide a 
> little constructive criticism, if you don't mind. I would rather your 
> hard work pay off in a "Oh, WOW" look from envious people, like me. 

I don't mind. I even like it. Makes me think more about wat I am doing.

>
>
> It looks like the wrinkling is really prominent at the lower bodice, 
> which makes me think it isn't a matter so much of how big around it 
> is, but maybe how long the bodice front is. It looks to be at or near 
> your armpits, at the top, so I wonder is it comfortable there or is it 
> digging in? Do you feel you have to tug it into place or is it sitting 
> in place? Are you willing to redo the bodice to shorten it a bit at 
> the front, because it looks like the side seams are the right length, 
> at least from the back. Do you have boning down the front? Is your 
> corset as long as the bodice? Maybe that is where the wrinkling at the 
> lower bodice is coming from. 

There are a few problems with this dress. I think the body isn't stif 
enough. I think that is one of the reasons wy it is wrinkeling. The 
bodice is not tight.
The fabrick of the skirt is much too light. and the point of the bodice 
is to round. And the hiproll isn't in the right place. But right now I 
don't have time to do someting about the problems. It needs to be 
finished next week togheter with at least two other costumes...
But I will look at it later.

The straps are verry comfortable! They are placed more to the ends of my 
shoulder and this is also the reasons that they don't dig in. The corset 
and the bodice are made that you can't let your schoulders hang..(don't 
know the words to explain... It forses your schoulders backwards. Since 
the corset and the bodice are from originals I can say this is how it 
schould be. I made a bodice from a late 16th century and the straps work 
the same. Wich you can see here: 
http://www.deredere.dds.nl/Bodice/Bodice.html  If you look at portraits 
it sometimes looks like the straps are almost off schoulder.

>
>
> And if the bodice is fitting you a little big, then why the stress 
> wrinkles across the back? Is that back interlined any? Is it pulling 
> forward or how does it feel to you? I am not sure what may be causing 
> the wrinkles back there, except it may be a bit small in the back or 
> something I am not understanding. 

I think I will have to see wat happens if I am wearing my hoopskirt and 
not the bumproll.....Maby it helps. But I am making this dress to wear 
at an archery competition wich is on a small feald in a openair museum. 
If I would weare my hoopskirt I will take the place of at least two 
archers at the shootingline. Don't think they woold be happy with this.

>
>
> I hope that helps you. I really love that you are doing this dress, 
> and can't wait to see it all come together for you. 


Greetings,
        Deredere



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Subject: [h-cost] Victorian clothing help
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I need to make Victorian garments for myself and a gentleman. Never having
ventured into "later" historical clothing, I've got no idea where to start.
Do any of the big pattern producers make passable Victorian patterns? It's
not for competition or anything; it's for a party, so I don't have to go all
out this time 'round, but I do want us to look nice.

TIA
Talia


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wedding at Bermondsey
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I keep seeing bits of it, but I haven't yet found a full picture.  If I
do I will definitely scan it and make it available.

K.
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] green
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This conversation has gone around at least a couple of
times. Renfaire legends like this are loosely based on
sumptuary laws that varied from place to place. The
'Greensleeves' is most likely a quasi-Victorian
interpretation of the prostitute legend. Several towns
in Italy did dictate at various times special garb for
prostitutes. Usually a red gown, red cap, etc. This
has led to the simplified notion that all red dresses
were worn by prostitutes. This is despite eveidence to
the contrary. There is a lovely 16th century potrait
in the San Diego Museum of Art. www.sdma.org
that has a lovely green dress I would love to have
some day if the right fabric comes along.
The Christian Museum, Esztergom has a potrait of a
'Lady with a Hare' that is a lovely lady wearing a red
dress. So I would say that neither red or green is
exclusively the provence of prostitution.




 --- MaryAnn Jones <mabse@spublofe.com> wrote: > I had
a conversation today about Renaissance faire
> costuming with someone who new nothing about it. 
Her contribution to the conversation was that only
prostitutes wore green in the English Elizabethan.  > 
> Does anyone know if there is any substance to this
> for any historical time 
> period?  Has any color traditionally been associated
> with prostitution 
> anywhere?
> 


=====


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From: "Kim Baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Victorian clothing help
Date: Wed, 3 Sep 2003 09:36:56 -0500
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You didn't say what date--Victorian runs for over 50 years, you know!

Simplicity has some patterns that are usable for Dickens-period, some
Civil War that aren't too bad. If you need later than that, you'll have
to look at the little independent companies. Laughing Moon is a good
one.
http://www.lafnmoon.com/patterns.html

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Talia
Sent: Wednesday, September 03, 2003 9:15 AM
To: Historical Costume
Subject: [h-cost] Victorian clothing help

I need to make Victorian garments for myself and a gentleman. Never
having
ventured into "later" historical clothing, I've got no idea where to
start.
Do any of the big pattern producers make passable Victorian patterns?
It's
not for competition or anything; it's for a party, so I don't have to go
all
out this time 'round, but I do want us to look nice.

TIA
Talia


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Date: Tue, 2 Sep 2003 20:51:23 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] French dress 1496-1498 corset or not
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At 12:06 PM +1200 9/3/03, michaela wrote:
>  > If you're a bit more sturdily built than the lissom lady in the picture,
>>  I'd suggest using rope stiffening or perhaps multiple layers of canvas in
>>  the undergown to get the flat look you're aiming for.
>
>And check out the Privy Accounts of .. well they are on the richard III
>group's website (US not UK group) There are accounts of fabric for gowns,
>kirtles and bokeham lining (full lining in some cases, so I'm thinking it's
>not as stiff as out buckram) and canvas in only enough for a bodice. They
>have lists of fabric for kirtles, linings and canvas for them too:)

"Buckram" is one of those words that has changed drastically in 
meaning.  The range of applications it had in the medieval period 
indicates a very fine cloth of silk, cotton, or linen.  Check the OED 
for more detail.

Heather
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To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] 16th century women's hats
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At 8:46 AM -0500 9/3/03, Melanie Schuessler wrote:
>Sarafina Sinclair wrote:
>
>>My theory is that the completely flat, 3 donut + 1 complete circle of
>>fabric, cut and construction method of making "tudor flat caps" is not a hat
>>style that was worn by women of any social class in England in the 16th
>>century.
>
>Ok.
>
>>I hadn't gone so far as to figure out where the pattern came from. Reverse
>>engineering is just as plausible as any other explanation. What is lacking
>>in all these descriptions of how to make the cap is the evidence supporting
>>the cut and construction; no extant garments are referred to, no
>>portraits/paintings/woodcuts/etc are shown. It is asserted, however, that
>>both men and women wore them.
>
>Right, but (at the risk of repeating myself) because there is no 
>evidence for this construction, and because there IS evidence for 
>the pleated style, and because you can get the flat cap look with a 
>pleated crown, and because it wastes fabric, and because it 
>basically makes the hat harder than it needs to be to construct, I 
>think that the 1 circle/3 donuts cut is historically incorrect.
>
>If this is true, your hypothesis is based on a false premise.
>
>My hypothesis is that the 1 circle/3 donut construction was not used 
>at all in the 16th century, that the pleated crown construction was 
>used to produce looks from 'flat cap' to 'soft cap', and that the 
>pleated crown hats were more commonly worn by men than women (of 
>course, women had a lot more choices in headgear).

It sounds more like Sarafina's hypothesis simply doesn't go far 
enough -- she hypothesizes that women didn't wear this type of hat, 
and you hypothesize that _nobody_ wore this type of hat.

Heather
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Subject: [h-cost] green
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All giggling aside, I wonder if Greensleeves isn't a reference to May Day
festivities, when wearing green was considered quite the traditional
thing to do.

The French chanson 'Ce Moys de May' is a May day song about a girl who
has a lovely new green dress to wear, so she can go out into the fields
and have her boyfriend rip it off of her. ;)

Arlys

On Wed, 3 Sep 2003 23:07:53 +1200 "michaela" <thebruce@ihug.co.nz>
writes:
> > I had a conversation today about Renaissance faire costuming with 
> someone who new nothing about it.  Her contribution to the conversation

> was that only prostitutes wore green in the English Elizabethan.  I
know 
> that I have heard that the term greensleeves referred to prostitutes
because 
> of the grass stains, but I had never heard this theory about green 
> before.


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From: "Talia" <khanson@kc.rr.com>
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Subject: RE: [h-cost] Victorian clothing help
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Late Victorian -- turn of the century stuff.

T.

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Kim Baird
> Sent: Wednesday, September 03, 2003 9:37 AM
> To: 'Historical Costume'
> Subject: RE: [h-cost] Victorian clothing help
> 
> 
> You didn't say what date--Victorian runs for over 50 years, you know!
> 
> Simplicity has some patterns that are usable for Dickens-period, some
> Civil War that aren't too bad. If you need later than that, you'll have
> to look at the little independent companies. Laughing Moon is a good
> one.
> http://www.lafnmoon.com/patterns.html
> 
> Kim
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Talia
> Sent: Wednesday, September 03, 2003 9:15 AM
> To: Historical Costume
> Subject: [h-cost] Victorian clothing help
> 
> I need to make Victorian garments for myself and a gentleman. Never
> having
> ventured into "later" historical clothing, I've got no idea where to
> start.
> Do any of the big pattern producers make passable Victorian patterns?
> It's
> not for competition or anything; it's for a party, so I don't have to go
> all
> out this time 'round, but I do want us to look nice.
> 
> TIA
> Talia
> 
> 
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From: "michaela" <thebruce@ihug.co.nz> wrote:
>lol! And someone just mentioned that you should never wear red to a
>Renaissance fair for the exact same reason;)
>
>I pointed out a few examples of QEI wearing red;) And a few other notable
>upper class type peoples;)

Yeah, Ren Fairs... sigh. Such a source of misunderstood 
misinformation and bad costuming habits.

Red is a problem for actors at fairs. Since a fair is in part 
historical, uh, well, not quite re-creation, but at least historical 
rec-reation, and it is in very large measure a theatrical production, 
there are some costuming rules for actors that many people don't 
understand - including said actors.

Bright red is generally not worn by actors because it is such a 
visually attention drawing color and The Queen should be the focus of 
attention. We can all find multiple examples of people, men and 
women, wearing red in 16th century art. For theatrical reasons, 
actors who want to wear red are generally steered toward dark muted 
reds. One exception i can think of is Sir Robert Dudley, since his 
portrait in a red leather doublet is well known and distinctive - and 
he is unlikely to be mistaken for Elizabeth.

Several of us wanted to start a French guild. Guilds tend to have 
distinctive looks, so their members are identifiable, and based on 
art we wanted to have many of the women in red, since red cloth 
appears in much 16th c. French courtly art and red cloth was an 
important French trade product. But we were nixed for the above 
mentioned theatrical reasons.

As for green: I've heard "green skirt" used as an epithet for loose 
women. But there's nothing wrong with wearing green at a Ren Fair, 
and no rules against it that i've heard. Just make sure that a wearer 
of green is well armed with true historical information and can stand 
up to some ribbing from ill-informed actors and vendors.

When i was in a "middle class" guild in Northern California, for 
years I wore a medium green skirt and bodice, with dark green 
guarding on the skirt and matching dark green "brocade" forepart, 
sleeve lining, and front piece on my bodice, and no one suggested 
anything rude to me. Note that I also wore my clothing modestly, no 
T**s On A Platter look, no exposed shoulders, sleeves always attached 
to my bodice and worn closed in the morning when it was cool and in 
parades, both coif and hat at all times, etc. Presentation is part of 
it. If i had bare shoulders, loose hair, and "two bald headed babies" 
in my bodice, i'm sure i'd have heard something.

Anahita
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 >>heard that the term greensleeves referred to prostitutes because of
 >>the grass stains,
lol! And someone just mentioned that you should never wear red to a
Renaissance fair for the exact same reason;)

...and then there was the Renn fair where I became a Jewish prostitute 
with leprosy. I wore a gown that had rather large yellow silk sleeves. I 
was called a prostitute because "during the Renaissance all prostitutes 
wore yellow sleeves." Then another person said "see, she's a Jew because 
they had to wear yellow." But the best one was the guy who told his 
girlfriend "see that woman with the yellow sleeves? She probably doesn't 
even know that only lepers wore yellow and they were supposed to carry 
bells to worn people off. Maybe we should tell her so she won't continue 
to embarrass herself." Gotta love these ideas! And here I just thought I 
was wearing a perfectly respectable gown based on an early 16th cent. 
Lorenzo Lotto painting of Mary and St. Catherine!

- Hope

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Subject: [h-cost] Re: h-costume Digest, Vol 2, Issue 545
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Heather Rose Jones said:
>>>It sounds more like Sarafina's hypothesis simply doesn't go far 
enough -- she hypothesizes that women didn't wear this type of hat, 
and you hypothesize that _nobody_ wore this type of hat.

Well, except that we have knitted examples for certain in that exact 
shape.   There's an example in Rutt of one (as Katya mentioned), and 2 
others in Flury-Lemburg.  (Actually, I haven't checked - I'm not sure if 
the hat in Rutt is different from the hats in F-L.)   It's more of a 
question as to whether or not they were ever made out of fabric.  And, of 
course, whether they were worn by women. 

Flury-Lemberg, Mechthild.   (1988). Textile conservation and research : a 
documentation of the textile department on the occasion of the twentieth 
anniversary of the Abegg Foundation / Mechthild Flury-Lemberg.  Bern : 
Abegg-Stiftung Bern.

Rutt, Richard. History of hand knitting


My personal hypothesis is that they were worn by women in about the 1540s, 
but not thereafter.   It looks to me like crowns start rising in the 1550s 
and keep going up. 

-Christina
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> I had a conversation today about Renaissance faire costuming with
> someone who new nothing about it.  Her contribution to the
> conversation was that only prostitutes wore green in the English
> Elizabethan.  I know that I have heard that the term greensleeves
> referred to prostitutes because of the grass stains, but I had never
> heard this theory about green before.

It's best to ignore this theory. It's usually confined pretty much to 
dramatic presentations from the period.

Keep in mind that at least some of the "poking fun at colors" done in 
dramas was because the color was so popular with the people in the 
audience and were colors they would have been wearing at the time. 
Kind of like a comedian poking fun at the type of clothing worn 
(especially all the "polyester leisure suits" which were common in 
the 70s.)

If you look at colors in paintings, you find green all over the place 
on "good" women. And in the inventories of Queen Elizabeth there are 
several

> Does anyone know if there is any substance to this for any historical
> time period?  Has any color traditionally been associated with
> prostitution anywhere?

You can probably find a ton of stuff on this in the archives of h-
costume. Heaven only knows we seem to end up talking about it 
frequently.

Shoot, the combination of green and white for clothing in Elizabethan 
drama meant "virtuous youth". A far cry from prostitition!

>From Linthicum in discussing color symbolism (using the early 16th C 
poet Fulvio Pellegrino Morato's work):
pure green=hope
willow-green=willingness to die
yellow-green=desperation

and using a different author (Late 16th C Giovanni Rinaldo):
green=happiness
yellow-green=wan hope

and still another (Mid 16th C Gerard Legh):
green=joy
sanguine with green="as lieve be hated as loved"

and another (late 16th C Sir John Ferne when discussing the "ages of 
man"):
green="lusty green youth"

In general: green had many meanings in Elizabethan England from pure 
joy to lechery. But green itself was not used to specifically denote 
a courtesan or prostitute.

However, the most common color which seems to get associated with 
prostitution is actually yellow. Information on these are usually 
taken from laws and statutes. Other colors and other things have been 
the association depending on the laws of the place: red dresses,  
special hoods, special patches (similar to the ones placed on Jewish 
people in Nazi Germany), a specific type of striped fabric.

Kat
<kat@redtrollforge.com>


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> And any color of blue is only for servants, and purple only for
> royalty, and, and, and....
> 
> It's obvious, then, that the only thing a conscientious person can
> wear to a RenFaire is a gown made out of transparent vinyl.

NOOOO. It's plastic, and therefore can't be worn. I guess you'll just 
have to go naked!

I think that if someone is saying that green wasn't worn, then we 
have to object, since that's not true.

However, if a particular Renn Faire decides that they want to have 
colors specific to certain roles to make it easier for the general 
public to parse it out (ie. for dramatic reasons as opposed to 
authenticity reasons) that's their call. Then I can see them saying 
"We want our Royals to wear only white or purple. No one else can, so 
as not to confuse others. Servants will all be dressed in blue. We'll 
put the ladies of questionable repute in green and red. Widows will 
be in black. Yellow only on girls who appear to be less than 13 years 
old. Everyone else can wear brown, grey or fabric which would look 
like it was undyed fresh off the sheep."

Kat
<kat@redtrollforge.com>


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Talia wrote:
> Late Victorian -- turn of the century stuff.
> 

I'm working on a similar project and haven't found anything from the Big 
3 that works really well. There is a Butterick pattern for men  that has 
a very passable morning coat and two vests. It's more or less correct, 
but it's not evening wear. There is a companion dress for women (gold 
dress on the pattern cover) that I don't think is correct at the 
neckline. It looks more like 1850 than 1890.

Simplicity has an 1880's dress in an American style, with evening and 
day versions, which is not bad. I think the sleeves should be longer on 
the day version. I think it also skimps on the bustle.

The 'Patterns of Fashion' volume for that period has women's evening 
dresses, but no men's wear. 'The Cut of Men's Clothes' has men's 
diagrams, but no instructions.

What I did was get '59 Authentic Turn of the Century Patterns' and start 
working from that. Sort of. I am doing a major pattern-bash on one of 
the Civil War dresses, using pieces from 59 Patterns and a skirt from 
Patterns of Fashion. But I'm making a street dress, not evening wear. 
There are a few pieces of men's clothing in the book, unfortunately not 
formal. However, for the most part men's formal/evening clothing hasn't 
changed in the past 110 years, so if you can find him a tux and wingtip 
shirt he's pretty good.

I am keeping  a dress diary:
http://www.reddawn.net/costume/diary.htm


Dawn

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In a message dated 9/3/2003 12:00:37 PM Eastern Standard Time, 
kat@grendal.rain.com writes:
NOOOO. It's plastic, and therefore can't be worn. I guess you'll just 
have to go naked!

I think that if someone is saying that green wasn't worn, then we 
have to object, since that's not true.
Oh no!  But I wanted to wear my green brocade Elizabethan to Renfaire next 
summer (it was just too hot when I went this summer, yuck)!  They'll think I'm a 
prostitute AND a leper, since the "brocade" bit is sort of yellowy cream <g>  
Or maybe I'm Jewish too?  Oh dear, maybe I'd best make myself a nice brown 
burlap bag...

I can't go naked!  I'm too pale, my skin will burn even with sunblock!  eeeek!

Christine
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Subject: RE: [h-cost] Victorian clothing help
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> Late Victorian -- turn of the century stuff.
>
> T.
>

I remember Laughing Moon having some patterns for turn-of-the-century
women's stuff.  I am not sure about men's though....

Diana


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replied

At 09:13 AM 09/02/2003 -0400, Beteena Paradise wrote:
>Please excuse this email!
>
>If Margo Anderson could email me privately, I would greatly appreciate it.
>Thanks!
>
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>

"One Tough Costumer"

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Hi Talia,

For turn of the century, check out Past Patterns (www.pastpatterns.com) --
their patterns are well made, and they have a number of late 19th century
patterns.

This is a nice late 1890's blouse and skirt:
http://www.pastpatterns.com/207.html

Truly Victorian patterns are also well made -- here's their 1890's patterns:
http://trulyvictorian.netfirms.com/90cat.html

Good luck, and let us know if you have more questions!

- Kendra
http://demode.tweedlebop.com

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All I've been able to find are details.  Here's what I have bookmarked:

http://www.columbia.edu/itc/barnard/theater/kirkland/3136/Renaissance%20Gall
ery/pages/1569.1.htm
http://www.columbia.edu/itc/barnard/theater/kirkland/3136/Renaissance%20Gall
ery/pages/1569.2.htm

- Kendra
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It (purple reference) might not be an import/export tax, though.
--sue

Lisa Sinervo wrote:
> 
> I've been doing a bit of reading lately on the sealing of cloth and the use of lead seals and David Egan does mention that different colours were taxed at different rates.  Unfortunately, no specific reference to any one document he bases this on that I can order and find which colours were taxed what.  (wouldn't research be nice if it was this easy!!)  I've quite a bit more available to read on this but I thought I would ask if anyone knows more about this.
> 
> The renfair crowd does talk about purple being taxed higher, so someone might know at least something about this. It does appear it was not just a purple rule, but a taxation system that involved probably all colours.  I'm most interested in England.
> 
> Thanks,
> 
> Lisa Sinervo
> www.ThrednedleStrete.com
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From: kat@grendal.rain.com
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Date: Wed, 03 Sep 2003 09:26:41 -0700
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> Well, except that we have knitted examples for certain in that exact
> shape.   There's an example in Rutt of one (as Katya mentioned), and 2
> others in Flury-Lemburg.  (Actually, I haven't checked - I'm not sure
> if the hat in Rutt is different from the hats in F-L.)   It's more of
> a question as to whether or not they were ever made out of fabric. 
> And, of course, whether they were worn by women. 

We know more about those caps that are knitted than just seeing a 
couple in museums or modern books such as Rutt. They were called 
"Statute Caps" based on an English statute of 1571 (repealed in 1597) 
which stated that all above the age of six years except the nobility 
and other persons of degree, should on Sabbath-days and holy-days 
(which were about every other day in period compared to now), wear 
caps of wool, manufactured in England. It was done in part to 
encourage the knitters industry that Elizabeth was trying to foster. 
Of course, like most sumptuary laws, people more often ignored it 
than stuck to it. But it had one effect: suddenly this style was a 
lot *less* popular with everyone.

> My personal hypothesis is that they were worn by women in about the
> 1540s, but not thereafter.   It looks to me like crowns start rising
> in the 1550s and keep going up. 

>From what I've seen, while hats for both men and women seem to get 
higher crowns after the 1550s, the styles coexisted (for both men and 
women) until the statute was passed.

Kat
<kat@redtrollforge.com>


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From: Christine Krebs-Bonder <ckbonder@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: RE: [h-cost] Victorian clothing help
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Simplicity and McCalls both now have later Victorian era patterns, circa 1870s and 1880s. They appear to give a reasonably accurate silhouette but the yardage requirements are not for the fainthearted and poor of pocketbook.

Christine Krebs-Bonder
Dayton, OH
-------Original Message-------
From: Kim Baird <kbaird@cableone.net>
Sent: 09/03/03 10:36 AM
To: 'Historical Costume' <h-costume@indra.com>
Subject: RE: [h-cost] Victorian clothing help

> 
> You didn't say what date--Victorian runs for over 50 years, you know!

Simplicity has some patterns that are usable for Dickens-period, some
Civil War that aren't too bad. If you need later than that, you'll have
to look at the little independent companies. Laughing Moon is a good
one.
http://www.lafnmoon.com/patterns.html

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Talia
Sent: Wednesday, September 03, 2003 9:15 AM
To: Historical Costume
Subject: [h-cost] Victorian clothing help

I need to make Victorian garments for myself and a gentleman. Never
having
ventured into "later" historical clothing, I've got no idea where to
start.
Do any of the big pattern producers make passable Victorian patterns?
It's
not for competition or anything; it's for a party, so I don't have to go
all
out this time 'round, but I do want us to look nice.

TIA
Talia


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From: Hope Greeenberg <hope.greenberg@uvm.edu>
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Subject: [h-cost] re: 16th century women's hats
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> From: kat@grendal.rain.com
> I believe that halo bonnet is actually what they were called in the 
> period. I think they got the name for the way they usually had an 
> ostrich feather curled around the brim.

Ah, that one. OK. Just wanted to be sure.
This is an interesting topic!
There seems to be the hat that morphed from from the Henry VII style: 
(examples at: http://tudorhistory.org/henry7/gallery.html) and also 
similar to that worn by Erasmus, William Warham, the Godsalve father, 
Sir Thomas Elyot and others by Holbein:
http://www.artchive.com/artchive/H/holbein/erasmus.jpg.html
http://www.artchive.com/artchive/H/holbein/sir_thomas_godsalve_and_his_son_john.jpg.html
http://www.artchive.com/artchive/H/holbein/holbein_william_warham.jpg.html
http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/2elyot2.jpg
which seems somewhat analagous to the female versions (as in, felted and 
shaped?) as worn by Margaret Giggs 
(http://www.uvm.edu/~hag/sca/tudor/holb5.jpg),
the "Unknown Woman" (http://www.uvm.edu/~hag/sca/tudor/1532woman.jpg) 
and Mrs. Pemberton (http://www.uvm.edu/~hag/sca/tudor/pemberton.jpg).

Then the caps with wider brims, and shallower crowns, numerous examples at:
http://tudorhistory.org/henry8/gallery2.html
(particularly interesting are the coin/cameo images)
which seem to have some versions with very flat crowns and others with 
higher or gathered crowns, but which still don't address the question of 
whether or not women wore the brimmed hat! Hmmm....

- Hope

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Several of h-costumers adopted stuffed animals to be given to the hospital
for children with terminal diseases for my son, Patrick's Eagle Scout
project. Yesterday, we received final confirmation that Patrick was approved
to be an Eagle Scout.  We are having his Eagle Scout ceremony on Sept. 14.
If anyone would like to attend the ceremony or would just like an
invitation, please email me off-list at penny@costumegallery.com .  I will
send you one in the mail.  The ceremony is in Chesterfield County, VA, a
suburb of Richmond.

We are so proud of Patrick.  He is the first of our five sons to achieve
Eagle Scout.  Only 3% of Boy Scouts earn the rank of Eagle Scout.  The
highest award in scouting.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Date: Wed, 03 Sep 2003 16:49:46 +0000
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Subject: [h-cost] Re: women's hats
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This all got started because I was making hats to merchant at Pennsic. I 
looked up how to make a flat cap online and made both styles (with and 
without a pleated crown). It got me to thinking because I've seen more than 
one person at an event with the 3+1 construction of hat. I wanted to include 
some documentation with the hats, so I started looking for portraits, etc to 
back up what I had created and couldn't find any. 

Just because there is no evidence (so far) to support the 3+1 construction 
doesn't mean that it isn't period. It just means that we haven't found it 
yet. That being said, I wanted people to know that it isn't a documentable 
construction (yet), because most of the instructional sites that I have seen 
put it forth like it is a proven fact (referring to the 3+1 construction). 
This is the basis of my hypothesis. I focused on women because I am 
researching women's hats. As someone said earlier, it may be that no one wore 
this hat because it never existed.

In the best of all worlds, I will find a hat makers manual from the 16th 
century and find the truth. 

I brought my questions to the list because I know that this group of people 
is very knowledgeable and would challenge me to figure out if I was barking 
up the wrong tree. For example, I had never considered knitted hats and now 
that is something I am going to look into.

I am writing this paper for the sheer pleasure of increasing my knowledge 
about women's hats in 16th century England. I am fully aware that my 
hypothesis may be waqy off base, but I needed to start somewhere in order to 
figure out what I am looking for. Clearly, this is a work in progress. By the 
time it's all said and done, I could end up writing a book once I get done 
researching all the possibilities that I have been given here.

Another thought that came to mind after I'd shut down my computer is that the 
3+1 construction might work just fine for the halo bonnet and it just may be 
that people aren't wearing their hats in the same way as depicted in the 
portraits. Unfortunately, it just isn't clearly depicted enough to be sure 
(even in Holbein's very detailed sketches).

With all that being said, please continue to give me your opinions and ideas 
about what you think on this matter. You can reply to me privately if you 
want (ladysarafina@att.net) if people are getting sick of this issue.

Thanks!

Harlie
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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Victorian clothing help
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Oh wow...nice! Thanks so much for that last link...I'll be able to find
something I like there.

T.

>
> Truly Victorian patterns are also well made -- here's their
> 1890's patterns:
> http://trulyvictorian.netfirms.com/90cat.html
>
> Good luck, and let us know if you have more questions!
>
> - Kendra

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I had heard somewhere that "greensleeves" was written by Henry VIII to Anne Boleyn and that the greensleeves referred to her well-known loose morals.  Reading the lyrics, it certainly seems it could be written by him for her, but the whole song is lamenting the fact that she wasn't "giving it up".  Perhaps green was her personal color?  Chalk it up to more faire nonsense, I guess.  There are portraits of nobles in nearly all colors and text references to even more.  Anne Russell wore purple velvet, purple taffeta and purple gauze to her wedding, so no color seems to have been exclusive by the mid 1500's.  

I love this list.  After 30 years of renaissance faire, people are finally starting to question all the rules handed to us when we start in favor of historical accuracy.  What a prettier place the world is going to be!!


Jennifer Fleury
Guild Master 2003-2004
The Guild of St. Augustine
www.guildofstaugustine.org
 
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From h-costume-bounces@indra.com  Wed Sep  3 13:53:04 2003
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Date: Wed, 3 Sep 2003 13:52:24 -0400 (EDT)
From: Katy Bishop <vintage@shore.net>
To: Talia <khanson@kc.rr.com>
Subject: RE: [h-cost] Victorian clothing help
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Past Patterns has a lot of good 19th Century patterns

http://www.pastpatterns.com/

I have a number of pattern companies on my links pages as well

http://www.vintagevictorian.com (click on vintage links)

Katy

On Wed, 3 Sep 2003, Talia wrote:

>Late Victorian -- turn of the century stuff.
>
>T.
>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
>> Behalf Of Kim Baird
>> Sent: Wednesday, September 03, 2003 9:37 AM
>> To: 'Historical Costume'
>> Subject: RE: [h-cost] Victorian clothing help
>>
>>
>> You didn't say what date--Victorian runs for over 50 years, you know!
>>
>> Simplicity has some patterns that are usable for Dickens-period, some
>> Civil War that aren't too bad. If you need later than that, you'll have
>> to look at the little independent companies. Laughing Moon is a good
>> one.
>> http://www.lafnmoon.com/patterns.html
>>
>> Kim
>>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
>> On Behalf Of Talia
>> Sent: Wednesday, September 03, 2003 9:15 AM
>> To: Historical Costume
>> Subject: [h-cost] Victorian clothing help
>>
>> I need to make Victorian garments for myself and a gentleman. Never
>> having
>> ventured into "later" historical clothing, I've got no idea where to
>> start.
>> Do any of the big pattern producers make passable Victorian patterns?
>> It's
>> not for competition or anything; it's for a party, so I don't have to go
>> all
>> out this time 'round, but I do want us to look nice.
>>
>> TIA
>> Talia
>>
>>
>> _______________________________________________
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>_______________________________________________
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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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From h-costume-bounces@indra.com  Wed Sep  3 14:54:36 2003
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Subject: [h-cost] greensleeves
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>
>Message: 6
>Date: Wed, 3 Sep 2003 10:27:45 -0700 (PDT)
>From: Jennifer Fleury <jenniferfleury@sbcglobal.net>
>Subject: [h-cost] Re: green=prostitution
>To: h-costume@indra.com
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>
>I had heard somewhere that "greensleeves" was written by Henry VIII to Anne 
>Boleyn and that the greensleeves referred to her well-known loose morals.  
>Reading the lyrics, it certainly seems it could be written by him for her, 
>but the whole song is lamenting the fact that she wasn't "giving it up".  
>Perhaps green was her personal color?  Chalk it up to more faire nonsense, I 
>guess.  There are portraits of nobles in nearly all colors and text 
>references to even more.  Anne Russell wore purple velvet, purple taffeta 
>and purple gauze to her wedding, so no color seems to have been exclusive by 
>the mid 1500's.

I've been lurking on the list for awhile.  My interests are in the
mid-nineteenth century period and I specialize in social and material
culture of the time.  

I found some information on the ballad "Greensleeves" and thought that it
may be of help.  The link is
http://flashpages.prodigy.net/marticia/the_ballad.htm

Another site suggested that it was the song, "Green Grows the Holly" that
Henry wrote, rather than "Greensleeves."
http://www.englishhistory.net/tudor/prihenry.html

I also checked in a _A Dictionary of Superstitions_ by Iona Opie and Moira
Tatem and it indicated that green was considered an unlucky color,
especially for brides and babies.  Quite a few sources were quoted but the
earliest one was 1793.

I also went through some of my dyeing books and did not see anything about
the signifiance of wearing green.

There are a number of sites that discuss color symbolism but none indicated
that green was associated with prostitution.

Virginia Mescher



mmescher@erols.com
Visit Ragged Soldier Sutlery and 
Vintage Volumes at:
http://www.raggedsoldier.com
http://www.vintagevolumes.com

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At 10:27 AM 9/3/2003 -0700, you wrote:
>I love this list.  After 30 years of renaissance faire, people are finally 
>starting to question all the rules handed to us when we start in favor of 
>historical accuracy.  What a prettier place the world is going to be!!


Jennifer, I so agree. The English portraits are so filled with color, and I 
am tired of only having dark somber black as the color of choice amongst 
the nobility. We've had enough years of it, I think. Thank goodness for 
people like you and your guild, that fill our nobility with bright, 
wonderful, and appropriate color; not to mention beautiful outfits.

And on a similar note, my hubby is willing to wear a bright red cape with 
his black and red outfit! Wheee!!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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At 08:36 AM 9/3/2003 -0700, you wrote:
>"two bald headed babies" in my bodice, i'm sure i'd have heard something.
>
>Anahita


Now that gave me a wonderful laugh... I had never heard that one before. 
Thanks!

And I am still going to make and wear a burgundy red dress, cause our QE 
wears black, purple and gold with a big huge crown that screams QUEEN! 
'Sides, I am tired of wearing blue.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Subject: [h-cost] 1870s bustle pattern?
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Dear list,

does anyone know of a good 1870s bustle pattern available?  I've seen a
few, but am far enough from my preferred costume timeframe that I don't
know which would be the best for an 1870s evening gown.  Any help would
be greatly appreciated.

Thanks,

Drea


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Subject: [h-cost] green
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I believe there's no evidence of "Greensleeves" until about 1580..., at which point it became very popular.  Given that Henry's court music and/or compositions are numerous and well documented.  I would bet that the nice, but sentimental, story about Henry and Anne B. started in the nineteenth century.

Constance
>
>Message: 6
>Date: Wed, 3 Sep 2003 10:27:45 -0700 (PDT)
>From: Jennifer Fleury <jenniferfleury@sbcglobal.net>
>Subject: [h-cost] Re: green=prostitution
>To: h-costume@indra.com
>Message-ID: <20030903172745.53891.qmail@web80106.mail.yahoo.com>
>Content-Type: text/plain; charset=us-ascii
>
>
>I had heard somewhere that "greensleeves" was written by Henry VIII to Anne Boleyn and that the greensleeves referred to her well-known loose morals.  Reading the lyrics, it certainly seems it could be written by him for her, but the whole song is lamenting the fact that she wasn't "giving it up".  Perhaps green was her personal color?  Chalk it up to more faire nonsense, I guess.  There are portraits of nobles in nearly all colors and text references to even more.  Anne Russell wore purple velvet, purple taffeta and purple gauze to her wedding, so no color seems to have been exclusive by the mid 1500's.  
>
>I love this list.  After 30 years of renaissance faire, people are finally starting to question all the rules handed to us when we start in favor of historical accuracy.  What a prettier place the world is going to be!!
>
>
>Jennifer Fleury
>Guild Master 2003-2004
>The Guild of St. Augustine
>www.guildofstaugustine.org

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To the Liste-

Were ya'll looking for the whole thang??:

http://www.peartree12.freeserve.co.uk/gallery/hoefnagel_bermondsey.html

Hope this halps,

Theresa Eacker

Kendra Van Cleave wrote:
> All I've been able to find are details.  Here's what I have bookmarked:
> 
> http://www.columbia.edu/itc/barnard/theater/kirkland/3136/Renaissance%20Gall
> ery/pages/1569.1.htm
> http://www.columbia.edu/itc/barnard/theater/kirkland/3136/Renaissance%20Gall
> ery/pages/1569.2.htm
> 
> - Kendra
> http://demode.tweedlebop.com
> 
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Congratulations to your son, Penny!  You mist be so proud!

margo



"One Tough Costumer"

www.margospatterns.com
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From h-costume-bounces@indra.com  Wed Sep  3 17:04:59 2003
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Hi, All. I have seen illos of women wearing similar types of headwear, 
but nothing that could be definitely defined as a flat cap. Since the 
illo is in B&W (22 Godly and Faythfull Christians pg 69 illo 61 
Ashelfords Visual History), the caps worn by three women could well be 
some sort of  other thing, and they are quite different from the illos 
of men's flat caps in the same picture. Since the discussion has morphed 
from whether or not women wore flat caps to a discussion of their 
construction, it seems like there is no physical evidence for the 4 
piece version (two brims, and a top made of  a solid top and a donut 
shaped bottom.). The only illo that I know of that shows what might be a 
seam at the join of pieces is the engraving of William Bullein, a 
Physician, dated 1562 (previous page to the page cited above in 
Ashelford). His cap shows a line at about the point there would be a 
seam if the cap were constructed in the conjectured incorrect manner 
but, of course, one engraving doesn't prove anything. It might be an 
artists convention to illustrate the curve of the fabric at that point, 
as does the illo of the "Faythfull Christian" on the next page (the 
fellow in the center, in front of the soldier and behind the man in the 
high-crowned (felt?) hat. (oops, that's two illos then...)  Hope this 
doesn't muddy the water too much more... Cheers, Mike T.



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Subject: Re: [h-cost] Victorian clothing help
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I highly recommend the Truly Victorian patterns.


On Wednesday, September 3, 2003, at 08:10 AM, Talia wrote:

> Late Victorian -- turn of the century stuff.
>
> T.
>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com 
>> [mailto:h-costume-bounces@indra.com]On
>> Behalf Of Kim Baird
>> Sent: Wednesday, September 03, 2003 9:37 AM
>> To: 'Historical Costume'
>> Subject: RE: [h-cost] Victorian clothing help
>>
>>
>> You didn't say what date--Victorian runs for over 50 years, you know!
>>
>> Simplicity has some patterns that are usable for Dickens-period, some
>> Civil War that aren't too bad. If you need later than that, you'll 
>> have
>> to look at the little independent companies. Laughing Moon is a good
>> one.
>> http://www.lafnmoon.com/patterns.html
>>
>> Kim
>>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
>> On Behalf Of Talia
>> Sent: Wednesday, September 03, 2003 9:15 AM
>> To: Historical Costume
>> Subject: [h-cost] Victorian clothing help
>>
>> I need to make Victorian garments for myself and a gentleman. Never
>> having
>> ventured into "later" historical clothing, I've got no idea where to
>> start.
>> Do any of the big pattern producers make passable Victorian patterns?
>> It's
>> not for competition or anything; it's for a party, so I don't have to 
>> go
>> all
>> out this time 'round, but I do want us to look nice.
>>
>> TIA
>> Talia
>>
>>
>> _______________________________________________
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Date: Wed, 3 Sep 2003 20:39:48 +0100
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
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ladysarafina@att.net wrote
>This all got started because I was making hats to merchant at Pennsic. I
>looked up how to make a flat cap online and made both styles (with and
>without a pleated crown). It got me to thinking because I've seen more than
>one person at an event with the 3+1 construction of hat. I wanted to include
>some documentation with the hats, so I started looking for portraits, etc to
>back up what I had created and couldn't find any.
>
<snip>
>Another thought that came to mind after I'd shut down my computer is that the
>3+1 construction might work just fine for the halo bonnet and it just may be
>that people aren't wearing their hats in the same way as depicted in the
>portraits. Unfortunately, it just isn't clearly depicted enough to be sure
>(even in Holbein's very detailed sketches).
>
>With all that being said, please continue to give me your opinions and ideas
>about what you think on this matter. You can reply to me privately if you
>want (ladysarafina@att.net) if people are getting sick of this issue.
>
>Thanks!
>
>Harlie

I certainly think there's a possibility that the halo bonnet and the 
flat cap and the soft cap could have the same construction.  And it also 
looks a lot like a continuation of the earlier (Henry VII's favourite 
portrait) cap with the turned up brim.  It depends just where you pin 
your jewels, how you slide your ostrich feather between brim and crown, 
whether you wear it tilted forward or tilted back....

Jean

-- 
Jean Waddie
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> I had heard somewhere that "greensleeves" was written by Henry VIII to
> Anne Boleyn and that the greensleeves referred to her well-known loose
> morals.  

How odd that it would. While Henry VIII may have written it, somehow 
I doubt that Anne Boleyn would have been wooed by someone saying she 
had "well known loose morals." Especially since she, unlike her 
sister (who had also been H8's paramour) was more likely to have had 
loose morals. She actually seemed to have been "saving herself for 
marriage" compared to others in the court. People later called her a 
whore because of H8 taking up with her when he was married (in the 
eyes of the populace) to Katherine. But when they were courting, she 
wasn't considered to have had loose morals.

>Reading the lyrics, it certainly seems it could be written by
> him for her, but the whole song is lamenting the fact that she wasn't
> "giving it up".  Perhaps green was her personal color? 

While H8 did lament that she wasn't "giving it up" (which drove him 
nuts), I have never seen green linked to Anne. I've seen white linked 
to her (because of her badge: a white falcon). White was certainly 
used as "her color" in some of the known revels in her honor, not 
green. They also used white and red roses (in part because of H8's 
heritage), but again, I've never seen green associated with her.

There is only one portrait (as opposed to a drawing, which doesn't 
help with the color issue anyway) which is experts still feel might 
be a picture of her, and she's wearing a black dress in it.

> I love this list.  After 30 years of renaissance faire, people are
> finally starting to question all the rules handed to us when we start
> in favor of historical accuracy.  What a prettier place the world is
> going to be!!

One can only hope. However, chances are that they will stick with the 
colors they've been doing for theatrical reasons.

Kat
<kat@redtrollforge.com>


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Oh, dear. You would continue to talk about one of my favorite 
subjects in the entire world. ;)

> Ah, that one. OK. Just wanted to be sure.
> This is an interesting topic!
> There seems to be the hat that morphed from from the Henry VII style:
> (examples at: http://tudorhistory.org/henry7/gallery.html) and also
> similar to that worn by Erasmus, William Warham, the Godsalve father,
> Sir Thomas Elyot and others by Holbein:

Actually, those are not morphed from or morphed into the halo. They 
coexisted with the halo and seem to be variations on the theme of 
"bonnet" (which is what they called them.)

They are all variations of the court bonnet.

Some of them had brims, some didn't. Some with brims had multiple 
parts to the brim, some were all in one piece. 

Some were made of felt (like the following that you mentioned: 
http://www.artchive.com/artchive/H/holbein/holbein_william_warham.jpg
http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/2elyot2.j
pg
http://www.uvm.edu/~hag/sca/tudor/1532woman.jpg
http://www.uvm.edu/~hag/sca/tudor/pemberton.jpg)

{I love this last one, of Mrs. Pemberton, because it clearly shows 
the bodice "pins" on the opposite side of the bodice from the Jane 
Seymour painting. This is actually a miniature at the V&A. I had, 
before seeing the real one, thought that it had just been reversed in 
the books, because everyone said "the pins or whatever are always 
down the L side of the bodice." But after seeing the miniature, I 
realized that it could be on the R side, which means it was probably 
on *both* sides and they really were pins, not just a French knot 
sewing the thing down. This makes much more sense when you think of 
how stomachers and placards in later periods were held down. Why sew 
it along the edge like that when you can make it more adjustable by 
pinning it down both sides. But then, most modern people really can't 
believe that people might have pins on their bodices that way.}

But then, some of the court bonnets were made of fur while others 
were made of silks (of various sorts) and velvets. 

>  which seems somewhat analagous to the female versions (as in,
> felted and shaped?) as worn by Margaret Giggs
> (http://www.uvm.edu/~hag/sca/tudor/holb5.jpg),

This one is clearly a lettice cap. This was a very popular hat in the 
mid-16th C. In the unabridged version of _The Lisle Letters_ it is 
mentioned several times. In fact, one time one of of Lisle's 
daughters ordered so many at one time that I wondered if they just 
wore out that fast or if she was planning on giving them to friends 
as gifts. (I'd have to look up the exact number she ordered, but I 
remember it being something like an entire dozen.)

This was made of a fur called lettice (from which it got it's name) 
which was similar to a "coney" or "rabbit". I've found one example of 
multicolored fur on Mary I's maid/fool in one of the paintings of the 
family of H8. That one has parts made with both white and brown fur. 

It is peaked "like a pope's hat" and is actually pretty easy to make. 
You may remember one in a non-perod one made in this shape from the 
movie "A Knight's Tale". The main female wore one throughout a good 
portion of the movie.

The most famous painting with one of these is Holbein's painting of a 
woman with a squirrel and a starling (which was probably the oil 
version of Mother Jak/Margaret Griggs):
http://www.nationalgallery.org.uk/cgi-
bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=NG6540

I strongly suspect that the non-knitted flat caps were most likely 
made of felt. This could be fashioned without needing to be seamed 
like the "circle and 3 donut" versions and end up like most of the 
ones you see that have construction which can't be done with flat 
fabric (much like French beret's are still made). The easiest way to 
think of them is a beret with a brim. ;)

Actually, the most comprehensive explanation of all the various 16th 
century hats is in Cunnington and Cunnington's _Handbook of English 
Costume in the 16th Century_. While you can get the information from 
other sources, including trying to parse it all out on your own, this 
seems to have it all in one place and in an understandable format. CW 
Cunnington also had access to wills & inventories (as well as other 
written sources), paintings, drawings, and the like that most of us 
will never get to see (unless we go to all the various homes and 
churches thoughout England to see them all the way he did.) (Or even 
at all, since some of them were probably destroyed during WWII.) I 
wish that he could have used paintings rather than line drawings, he 
at least documents where each of the line drawings came from so that 
you can find most the originals if you try. But Ms. Lucas' drawings 
are of archeological quality (especially compared to the ones she did 
under Mrs. Cunnington's direction after CW died.)

Kat
<kat@redtrollforge.com>


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> Another thought that came to mind after I'd shut down my computer is
> that the 3+1 construction might work just fine for the halo bonnet and
> it just may be that people aren't wearing their hats in the same way
> as depicted in the portraits. Unfortunately, it just isn't clearly
> depicted enough to be sure (even in Holbein's very detailed sketches).

The halo bonnet is the least likely to be made that way, because the 
brim wouldn't be a circle. It has to be just part of a circle to 
angle up in the way it does. And in some of the drawings by Holbein 
it's pretty clear that the crown is gathered or pleated in. It's not 
just the angle that they are worn, because there are so many examples 
of them worn at various angles and seen from various viewpoints. (An 
example of this is a painting of Francois I and his court where the 
guys are all wearing the halo bonnet or the similar one with a 
smaller, more upright feather. Heaven only knows where I found the 
picture and I can't find it on the web. I have a slide in my 
collection of it. Better record keeping would have helped but it's 
too late at this point.)

However, some of the flat caps (or, as they were known in England at 
that time "city caps") could have been made that way. Unfortunately, 
I don't believe that short of having a hatter's manual from the time 
we'll know for sure (since none of the caps themselves have survived 
and they are different than the knitted "statute caps.")

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] greensleeves
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Not that I have access to it at the moment, but has anyone considered
checking the Musica Britanica? There's also a volume known as "King
Henry's Book" from period which included Henry's music as well as that of
some of his favorite composers (Wm. Cornysh, for one). And it's also
possible that the song may not have been originally titled
"Greensleeves," but came to be known that way over time.

'Green Grows the Holly" is a totally different piece of music.

Would there have been any sort of sumputary ruling regarding green?

Arlys, one of the local music geeks


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: green=prostitution
Date: Wed, 3 Sep 2003 18:38:42 -0400
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On Wednesday 03 September 2003 06:05 pm, kat@grendal.rain.com wrote:
> > I had heard somewhere that "greensleeves" was written by Henry VIII to
> > Anne Boleyn and that the greensleeves referred to her well-known loose
> > morals.

My understanding is that the tune to which Greensleeves is commonly sung 
pre-dates Henry by several hundred years.  I don't know of a specific 
attribution for the lyrics.

>
> How odd that it would. While Henry VIII may have written it, somehow
> I doubt that Anne Boleyn would have been wooed by someone saying she
> had "well known loose morals." Especially since she, unlike her
> sister (who had also been H8's paramour) was more likely to have had
> loose morals. She actually seemed to have been "saving herself for
> marriage" compared to others in the court. [snip]

That was certainly the tack she took with Henry.  If she had not, likely he 
would have enjoyed her charms without going through the agony of seeking a 
legal divorce from Catherine.


> >Reading the lyrics, it certainly seems it could be written by
> > him for her, but the whole song is lamenting the fact that she wasn't
> > "giving it up".  Perhaps green was her personal color?
>
> While H8 did lament that she wasn't "giving it up" (which drove him
> nuts), I have never seen green linked to Anne. I've seen white linked
> to her (because of her badge: a white falcon). White was certainly
> used as "her color" in some of the known revels in her honor, not
> green. They also used white and red roses (in part because of H8's
> heritage), but again, I've never seen green associated with her.

Nor I.  The only color reference relating to Anne that I've heard of is an 
anecdote claiming that she wore yellow the day Catherine of Aragon died, and 
that  when she was criticized for it, she claimed that yellow was the color 
of mourning in France.  Wish I could remember where that one came from.



> There is only one portrait (as opposed to a drawing, which doesn't
> help with the color issue anyway) which is experts still feel might
> be a picture of her, and she's wearing a black dress in it.

If it's the one I'm thinking of, the color is closer to a very dark brown, 
with lighter brown fur on the sleeves.  

I seem to remember having seen a reproduction of a minature of Anne also.  


-- 
Cathy Raymond <cathy@thyrsus.com>

â€œNo man is rich enough to buy back his 
past.â€  Oscar Wilde

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From: "Genie" <kerowyn@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
References: <01aa01c371c9$fd10aec0$0400a8c0@comcast.net>
Subject: Re: [h-cost] Some News
Date: Wed, 3 Sep 2003 17:58:37 -0500
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Congratulations, this is so cool.

Also, Congratulations on you son becoming an Eagle Scout.

Genie H.
----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Tuesday, September 02, 2003 10:18 PM
Subject: [h-cost] Some News


> This past week, I was on my airplane trip back from New Orleans to
> Cincinnati to
> Richmond, I was feeling like a celebrity.  I was working on tracing
> embroidery patterns from 1850s-1920s.  It seemed like everyone who passed
> asked what I was doing and then it lead to what my business was.  Then
they
> wanted my business card with our website address.  I was sitting in a
sports
> bar in Cincinnati for three and a half hours killing time.  Half of the
> people were watching me, the other half a football game.  People on the
> airplanes were watching too.  I felt like Mr. Drawing Board on Captain
> Kangaroo.  Good thing my teacher mode kicked in... learned then not to be
> bothered people are watching and asking questions.   Who would have
thought
> so many people would be interested in old embroidery patterns!!!!
>
> The second set of news... kinda slipped my mind.  Back in June a reporter
> from the Associated Press (AP) interviewed me about the history of pants
in
> America.  With all the crazy things going on, I forgot to watch for the
> article in the newspapers.  W-e-l-l the article started running on Aug.
11.
> The way the AP works is that the article can be run in any of the
Associated
> Press subscribed newspapers/TV news shows any time within a six month
> period.  In
> August, I found that the article ran in the following newspapers, New York
> Times, Boston Globe, Palm Beach, and Charleston, South Carolina.
>
> Here are some links to the article.  The interview with me is in the last
> three paragraphs:
>
>
http://www.boston.com/yourlife/fashion/articles/2003/08/11/fashion_liberating_pants/
>
> http://www.tcpalm.com/tcp/living/article/0,1651,TCP_1043_2208216,00.html
>
> http://www.charleston.net/stories/082203/fas_22pants.shtml
>
> For those who recall this reporter... this is the same one who interviewed
> me last year about 1940s fashions and put it in an article.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Cynthia Virtue wrote:

> michaela wrote:
>
>>> heard that the term greensleeves referred to prostitutes because of the
>>> grass stains, but I had never heard this theory about green before.
>>
>> lol! And someone just mentioned that you should never wear red to a
>> Renaissance fair for the exact same reason;)
>
>
> And any color of blue is only for servants, and purple only for 
> royalty, and, and, and....
>
> It's obvious, then, that the only thing a conscientious person can 
> wear to a RenFaire is a gown made out of transparent vinyl.
>
Ack! could you warn a person! I do believe I have to wipe the coffee off 
my monitor.

liz young


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Subject: Re: [h-cost] 1870s bustle pattern?
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I have a load I've done myself what type are you after ?

Mel

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I used the Truly Victorian bustle pattern, and am very pleased with it (it's TV101 Petticoat with Wire Bustle) You can get it at http://trulyvictorian.netfirms.com/undies.html

	-sunny

> Message: 4
> Date: Wed, 3 Sep 2003 16:32:11 -0400 (EDT)
> From: Drea Leed <drea@nospam>
> Subject: [h-cost] 1870s bustle pattern?
> To: h-costume@indra.com
> Message-ID: <20030903163051.W86904-100000@shell.siscom.net>
> Content-Type: TEXT/PLAIN; charset=US-ASCII
> 
> 
> Dear list,
> 
> does anyone know of a good 1870s bustle pattern available?  
> I've seen a
> few, but am far enough from my preferred costume timeframe 
> that I don't
> know which would be the best for an 1870s evening gown.  Any 
> help would
> be greatly appreciated.
> 
> Thanks,
> 
> Drea
 

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> > While H8 did lament that she wasn't "giving it up" (which drove him
> > nuts), I have never seen green linked to Anne. I've seen white
> > linked to her (because of her badge: a white falcon). White was
> > certainly used as "her color" in some of the known revels in her
> > honor, not green. They also used white and red roses (in part
> > because of H8's heritage), but again, I've never seen green
> > associated with her.
> 
> Nor I.  The only color reference relating to Anne that I've heard of
> is an anecdote claiming that she wore yellow the day Catherine of
> Aragon died, and that  when she was criticized for it, she claimed
> that yellow was the color of mourning in France.  Wish I could
> remember where that one came from.

Most of the biographies of Anne Boleyn and H8 mention that they wore 
yellow. I don't remember any comments about it being a mourning 
color.

> If it's the one I'm thinking of, the color is closer to a very dark
> brown, with lighter brown fur on the sleeves.  

You're right. The Holbein painting of her at Hever Castle is in brown 
velvet sleeves. I had forgotten about that painting. I was 
remembering the one from the Nat'l Portrait Gallery in London. Still, 
not green. ;)

> I seem to remember having seen a reproduction of a minature of Anne
> also.  

The only miniature I've seen of her (one by Lucas Hornbolte) is now 
felt not to be her. It may be of her sister Mary Boleyn. For more 
information, you'd probably have to write to Roy Strong, who has done 
a lot of work in this area. There's a brief passage about it in his 
book _The English Renaissance Miniature_ but I've seen a longer 
article by him about that particular miniature somewhere else.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Some News
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Thank you Margo and Genie!  We picked up his award today at the Scout office
and delivered some invitations to the ceremony.  His pediatricians office is
just around the corner from the shop, so we stopped in to give an invitation
to them.  The whole office was about in tears, they were so proud.  We have
been with these doctors through all our sons growing into young men.
Frequently we forget to say thank you to our children's doctors and
teachers.  Patrick is hand delivering invitations to all of them and showing
them his medals.  As a former teacher, I can say, we always want to know how
that former student turned out.  That is the rewards of being a teacher.

Patrick was a very sickly child when little with asthma... still has it.
Then he had learning disabilities from lead poisoning in our house's paint.
He has overcome a lot to earn such a high award.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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To: Historical Costume <h-costume@indra.com>
From: Ysoria de Brai <Ysoria@grumpybadger.com>
Subject: Re: [h-cost] 16th century women's hats
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<snip>
>  Since the discussion has morphed from whether or not women wore flat 
> caps to a discussion of their construction, it seems like there is no 
> physical evidence for the 4 piece version (two brims, and a top made 
> of  a solid top and a donut shaped bottom.).

<snip>

Is this the type of flat-cap that people are referring to?  I was looking 
for something else and ran across it. It is amazing what you find when you 
stop looking.  This hat appears to be constructed in a 4-piece version, 
with the top piece being a donut sewn to a circle.

Portrait of Bruegel the Elder (1572) Antwerp

http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/008.html

Not a woman wearing it, and not English, but to my eye it appears to have 
the aforementioned construction.

      - Cole


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wow.  That does indeed look just like the ren-faire flat cap!


On Wednesday, September 3, 2003, at 05:13 PM, Ysoria de Brai wrote:

>
>
> <snip>
>>  Since the discussion has morphed from whether or not women wore flat  
>> caps to a discussion of their construction, it seems like there is no  
>> physical evidence for the 4 piece version (two brims, and a top made  
>> of  a solid top and a donut shaped bottom.).
>
> <snip>
>
> Is this the type of flat-cap that people are referring to?  I was  
> looking for something else and ran across it. It is amazing what you  
> find when you stop looking.  This hat appears to be constructed in a  
> 4-piece version, with the top piece being a donut sewn to a circle.
>
> Portrait of Bruegel the Elder (1572) Antwerp
>
> http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/ 
> images/008.html
>
> Not a woman wearing it, and not English, but to my eye it appears to  
> have the aforementioned construction.
>
>      - Cole
>
>
> _______________________________________________
> 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] 16th century women's hats
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Wow, that is a surprise.  Not that I know anything about renaissance hats,
but making that hat with two circles would waste a bit of fabric when one
could make it pleated to the brim and achieve a very similar effect.  I tend
to see things when they are brought to my attention and then I see them
everwhere,  often long after the relevance to the conversation has passed.

Thanks for posting that.

Lisa Sinervo
www.ThrednedleStrete.com


----- Original Message -----
From: "Ysoria de Brai" <Ysoria@grumpybadger.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 03, 2003 5:13 PM
Subject: Re: [h-cost] 16th century women's hats


>
>
> <snip>
> >  Since the discussion has morphed from whether or not women wore flat
> > caps to a discussion of their construction, it seems like there is no
> > physical evidence for the 4 piece version (two brims, and a top made
> > of  a solid top and a donut shaped bottom.).
>
> <snip>
>
> Is this the type of flat-cap that people are referring to?  I was looking
> for something else and ran across it. It is amazing what you find when you
> stop looking.  This hat appears to be constructed in a 4-piece version,
> with the top piece being a donut sewn to a circle.
>
> Portrait of Bruegel the Elder (1572) Antwerp
>
>
http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/008
.html
>
> Not a woman wearing it, and not English, but to my eye it appears to have
> the aforementioned construction.
>
>       - Cole
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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On Wednesday 03 September 2003 07:32 pm, kat@grendal.rain.com wrote:
> > > While H8 did lament that she wasn't "giving it up" (which drove him
> > > nuts), I have never seen green linked to Anne. I've seen white
> > > linked to her (because of her badge: a white falcon). White was
> > > certainly used as "her color" in some of the known revels in her
> > > honor, not green. They also used white and red roses (in part
> > > because of H8's heritage), but again, I've never seen green
> > > associated with her.
> >
> > Nor I.  The only color reference relating to Anne that I've heard of
> > is an anecdote claiming that she wore yellow the day Catherine of
> > Aragon died, and that  when she was criticized for it, she claimed
> > that yellow was the color of mourning in France.  Wish I could
> > remember where that one came from.
>
> Most of the biographies of Anne Boleyn and H8 mention that they wore
> yellow. I don't remember any comments about it being a mourning
> color.

The bio where I read this (claiming, I believe, to have gotten it from a 
primary source but I forget which), implied that Anne told an untruth when 
she claimed yellow to be a French mourning color.


>
> > If it's the one I'm thinking of, the color is closer to a very dark
> > brown, with lighter brown fur on the sleeves.
>
> You're right. The Holbein painting of her at Hever Castle is in brown
> velvet sleeves. I had forgotten about that painting. I was
> remembering the one from the Nat'l Portrait Gallery in London. Still,
> not green. ;)

Very much not green.


>
> > I seem to remember having seen a reproduction of a minature of Anne
> > also.
>
> The only miniature I've seen of her (one by Lucas Hornbolte) is now
> felt not to be her. It may be of her sister Mary Boleyn. For more
> information, you'd probably have to write to Roy Strong, who has done
> a lot of work in this area. There's a brief passage about it in his
> book _The English Renaissance Miniature_ but I've seen a longer
> article by him about that particular miniature somewhere else.

You may well be right.  By chance, I saw the repro I have in mind just the 
other day (not in a book I own, unfortunately), and I noticed that the 
subject wore a necklace with a "B" pendant, though of course Mary Boleyn may 
have had such a necklace as well.


-- 
Cathy Raymond <cathy@thyrsus.com>

â€œNo man is rich enough to buy back his 
past.â€  Oscar Wilde

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Date: Wed, 3 Sep 2003 21:19:46 EDT
Subject: Re: [h-cost] 1870s bustle pattern?
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Don't forget The Great Pattern Review


 <A HREF="http://www.gbacg.org/Patterns/tv.htm">Truly Victorian</A> 


Personally, I like the blue plaid gown created with the 1873 Polonaise 401 
and the 1870s underskirt 201.

But for the 70s I love most those tight princess gowns.

One of the great things about bustle is if you get your underpinnings and 
foundation garments right, [and by foundation garments I mean the shell of the 
bodice and skirt sans any trims or stuff] you can have fun fixing it up with 
poufs, gunches, bows, fringe, or all these things.

I had a friend who had a real 1870s princess gown. It was Navy with a pail 
pinstripe. Is was a simple as can be, all cut in one from neck to hem. The back 
was in 4 pieces and the front in two with the usual double bust darts [I 
know...not strictly "princess"]. The V neck had some self fabric pleating that 
stood up in the back, the cuffs has some pleating and a tortured bow. The skirt 
was plain and not all that full, but just below the kneed was a horizontal swag 
of self fabric that went all the way around. This was tacked up to look like 
there was no piecing....like the dress was just really long and had been 
gunched up all the way around just bellow the knees. The hem had some of the same 
pleating as the bodice. That's it.

It looked great....and was for a short, "Rubinesque" woman.
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Date: Wed, 3 Sep 2003 21:21:58 EDT
Subject: Re: [h-cost] 1870s bustle pattern?
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In a message dated 9/3/2003 9:20:32 PM Eastern Daylight Time, 
AlbertCat@aol.com writes:

> I had a friend who had a real 1870s princess gown. It was Navy with a pail 
> pinstripe. Is was a simple as can be, all cut in one from neck to hem. The 
> back 
> was in 4 pieces and the front in two with the usual double bust darts [I 
> know...not strictly "princess"]. The V neck had some self fabric pleating 
> that 
> stood up in the back, the cuffs has some pleating and a tortured bow. The 
> skirt 
> was plain and not all that full, but just below the kneed was a horizontal 
> swag 
> of self fabric that went all the way around. This was tacked up to look like 
> 
> there was no piecing....like the dress was just really long and had been 
> gunched up all the way around just bellow the knees. The hem had some of the 
> same 
> pleating as the bodice. That's it.
> 

I'm sorry....I forgot to say in buttoned all the way down the front to the 
swag....with about 5/8" dark ornate buttons.
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From: "Wanda Pease" <wandap@hevanet.com>
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Date: Wed, 3 Sep 2003 18:25:41 -0700
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Subject: [h-cost] Not the Bermondsey Pic after all
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Help!

I'm looking for the picture where there are three middle class ladies in
Tudor era garb (no, it's not the exemplar where one looks like, from the way
she has her head swathed, she has a toothache).  I remember them being
dancers.  They each have tall hats on, and a moderate Vee front bodice
(pinned on stomacher over lacing?)

I had it in June when I went to Germany, and now it has disappeared.  I
thought it was the wedding picture because I remember them being part of a
larger picture.


Regina Romsey/Wanda Pease
Sit vis nobiscum.


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From h-costume-bounces@indra.com  Wed Sep  3 21:43:39 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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	<3F56031F.15845.32EE5318@localhost><3F5617AC.14859.333E9982@localhost>
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Subject: [h-cost] yellow when she died was green=prostitution
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I remember reading from a biographer (Alison Weir???) that it was Henry who
wore yellow when Catherine of Aragon died because it was a color of
celebration.

Lisa

----- Original Message -----
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 03, 2003 5:53 PM
Subject: Re: [h-cost] Re: green=prostitution


> On Wednesday 03 September 2003 07:32 pm, kat@grendal.rain.com wrote:
> > > > While H8 did lament that she wasn't "giving it up" (which drove him
> > > > nuts), I have never seen green linked to Anne. I've seen white
> > > > linked to her (because of her badge: a white falcon). White was
> > > > certainly used as "her color" in some of the known revels in her
> > > > honor, not green. They also used white and red roses (in part
> > > > because of H8's heritage), but again, I've never seen green
> > > > associated with her.
> > >
> > > Nor I.  The only color reference relating to Anne that I've heard of
> > > is an anecdote claiming that she wore yellow the day Catherine of
> > > Aragon died, and that  when she was criticized for it, she claimed
> > > that yellow was the color of mourning in France.  Wish I could
> > > remember where that one came from.
> >
> > Most of the biographies of Anne Boleyn and H8 mention that they wore
> > yellow. I don't remember any comments about it being a mourning
> > color.
>
> The bio where I read this (claiming, I believe, to have gotten it from a
> primary source but I forget which), implied that Anne told an untruth when
> she claimed yellow to be a French mourning color.
>
>
> >
> > > If it's the one I'm thinking of, the color is closer to a very dark
> > > brown, with lighter brown fur on the sleeves.
> >
> > You're right. The Holbein painting of her at Hever Castle is in brown
> > velvet sleeves. I had forgotten about that painting. I was
> > remembering the one from the Nat'l Portrait Gallery in London. Still,
> > not green. ;)
>
> Very much not green.
>
>
> >
> > > I seem to remember having seen a reproduction of a minature of Anne
> > > also.
> >
> > The only miniature I've seen of her (one by Lucas Hornbolte) is now
> > felt not to be her. It may be of her sister Mary Boleyn. For more
> > information, you'd probably have to write to Roy Strong, who has done
> > a lot of work in this area. There's a brief passage about it in his
> > book _The English Renaissance Miniature_ but I've seen a longer
> > article by him about that particular miniature somewhere else.
>
> You may well be right.  By chance, I saw the repro I have in mind just the
> other day (not in a book I own, unfortunately), and I noticed that the
> subject wore a necklace with a "B" pendant, though of course Mary Boleyn
may
> have had such a necklace as well.
>
>
> --
> Cathy Raymond <cathy@thyrsus.com>
>
> â€œNo man is rich enough to buy back his
> past.â€  Oscar Wilde
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
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Subject: Re: [h-cost] 1870s bustle pattern?
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I second Truly Victorian patterns, and I MORE than second the GBACG Great
Pattern Review (which, by the way, anyone can contribute to!  You don't have
to be a Guild member).

http://www.gbacg.org/Patterns/

- Kendra
http://demode.tweedlebop.com

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th century women's hats
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Carolyn Kayta Barrows wrote:
>  
> What about knitted construction?  I know there were cap knitters, and I 
> think that Rutt's book on the history of hand-knitting has either a 
> whole knitted "flat cap" or identifiable parts of same.  IIRC, these 
> were felted, and, if so, would have looked very much like the ones in 
> the Holbein pictures first mentioned.

There's another knitted/felted one in Textiler Hausrat by Jutta 
Zander-Seidel.  It's one of the kind with a two-part brim that overlaps 
on each side.  In fact, we just talked about these knitted hats fairly 
recently on this list, but I can't remember the subject line.

I ignored this line of inquiry (sorry, Harlie) because the caps we were 
looking at in paintings were all so posh (i.e., covered in jewels and 
gold bits) that it was a little hard for me to imagine them being knit, 
but they could have been.

Melanie Schuessler


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Assistant Professor of Costume Design and Construction
Coastal Carolina University

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Subject: Re: [h-cost] 16th century women's hats
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Heather Rose Jones wrote:

> It sounds more like Sarafina's hypothesis simply doesn't go far enough 
> -- she hypothesizes that women didn't wear this type of hat, and you 
> hypothesize that _nobody_ wore this type of hat.

Yes, though I'm intrigued by the Bullein picture that Mike cited and 
the engraving of Breughel that Cole posted.  They could both be artistic 
convention ("here be a fold"), or there could have been an edgestitch 
done at the fold of a knitted cap, or they could be the 3+1 construction.

kat@grendal.rain.com wrote:
 >
 > Unfortunately,
 > I don't believe that short of having a hatter's manual from the time
 > we'll know for sure (since none of the caps themselves have survived
 > and they are different than the knitted "statute caps.")

Well, there is the velvet one in Patterns of Fashion that's pleated, but 
that's the only non-knitted one that I know of.

Melanie Schuessler



http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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From h-costume-bounces@indra.com  Wed Sep  3 23:23:26 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] speaking of colours..........
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Lisa Sinervo wrote:
 > I've been doing a bit of reading lately on the sealing of cloth and
 > the use of lead seals and David Egan does mention that different
 > colours were taxed at different rates.  Unfortunately, no specific
 > reference to any one document he bases this on that I can order and
 > find which colours were taxed what.  (wouldn't research be nice if it
 > was this easy!!)  I've quite a bit more available to read on this but
 > I thought I would ask if anyone knows more about this.
 >
 > The renfair crowd does talk about purple being taxed higher, so
 > someone might know at least something about this. It does appear it
 > was not just a purple rule, but a taxation system that involved
 > probably all colours.  I'm most interested in England.

Try "The Rates of the London Custom House in 1550" by Joan Edwards and 
J. L. Nevinson from Costume, volume 4 (1970).  There are quite a number 
of fabrics and some dyes listed for import, and few of the fabrics are 
listed by color.  The ones that are make a distinction between the 
fabric that is in grain/crimson/purple and that which is not, so there 
is some basis for the "purple taxed higher" assertion.  Here are the 
exceptions and the dyes--at least the ones I can identify:

Brasell the C. pounde xxxiii.s.iiii.d.
Brasel the pounde iiii.d.

Damaske the yarde iiii.s.
Damaske crymsyn or purple the yarde vi.s.viii.d.

Graynes the hundreth pounde l.s.
Grayne of Portyngle called rote the pounde xvi.d.
Grayne of sevell the pounde xii.d.
Grayne pouder the pounde ii.s.

Gaules the hundreth pounde xiii.s.iiii.d.

Mul madder the bale xx.s.
Madder the bale l.s.
Madder the C. pounde vi.s.viii.d.

Orchel the laste xl.s.
Orchell the pounde xiii.s.iiii.d.

Rosset the pounde vi.d.

Satten out of grayne the yarde v.s.
Satten right crimisin in grayne or purple the yarde x.s.
Satten counterfete crimsin ye yard vi.s.viii.d.
Satten tinseld with gold the yarde xiii.s.iiii.d.
Satten of bruges the yarde xx.d.
Satten of bruges counterfete tynselde the yarde iii.s.iiii.d.

Tarmaret the C. pounde xl.s.

Velvet ryghte crymisyn in grayne the yarde xiii.s.iiii.d.
Velvet of all collors out of grayne the yarde vii.s.vi.d.

Woad of gascone the pype iii pound vi.s.viii.d.
Woad of the Ile of Surrey teh ballet x.s.
Woad of the Ile of Assorns the ballet x.s.


Cheers,
Melanie Schuessler



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Assistant Professor of Costume Design and Construction
Coastal Carolina University

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To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: [h-cost] Re: h-costume Digest, Vol 2, Issue 545
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At 10:53 AM -0500 9/3/03, Christina L Biles wrote:
>Heather Rose Jones said:
>>>>It sounds more like Sarafina's hypothesis simply doesn't go far
>enough -- she hypothesizes that women didn't wear this type of hat,
>and you hypothesize that _nobody_ wore this type of hat.
>
>Well, except that we have knitted examples for certain in that exact
>shape.   There's an example in Rutt of one (as Katya mentioned), and 2
>others in Flury-Lemburg.  (Actually, I haven't checked - I'm not sure if
>the hat in Rutt is different from the hats in F-L.)   It's more of a
>question as to whether or not they were ever made out of fabric.  And, of
>course, whether they were worn by women.

The knitted ones were given an exception somewhere early in the 
thread -- I guess I was taking that as still assumed.  Sorry.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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> Thank you Margo and Genie!  We picked up his award today at the Scout
> office and delivered some invitations to the ceremony.  His
> pediatricians office is just around the corner from the shop, so we
> stopped in to give an invitation to them.  The whole office was about
> in tears, they were so proud.  We have been with these doctors through
> all our sons growing into young men. Frequently we forget to say thank
> you to our children's doctors and teachers. 

Believe me, the doctors remember that sort of thing. I have letters, 
pictures they've drawn, photographs, cards and the like that were 
given to me by my patients and their parents going back to residency.

In this day and age it's rare that a patient gets to stay with a 
doctor long enough to get to know them this well. Insurances and 
mobile lifestyles have put an end to the idea of continuity of care 
and good doctor/patient relationships. Sigh.

> Patrick was a very sickly child when little with asthma... still has
> it. Then he had learning disabilities from lead poisoning in our
> house's paint. He has overcome a lot to earn such a high award.

So, you had a first hand experience for why we shouldn't use 
medieval/renaissance recipes for white lead makeup to make our cheeks 
pale and soft when we're wearing our costumes. ;) (Obligatory costume 
content.)

Congratulations!

Kat
<kat@redtrollforge.com>


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 1870s bustle pattern?
Date: Thu, 4 Sep 2003 16:11:51 +1200
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> > I had a friend who had a real 1870s princess gown. It was Navy with a
pail
> > pinstripe. Is was a simple as can be, all cut in one from neck to hem.
The
> > back
> > was in 4 pieces and the front in two with the usual double bust darts [I
> > know...not strictly "princess"].

No it is a true princess:) Just not Princess seamed;) Princess style dresses
were from the 1860s and were cut in this construction. Princess seams for a
similar style (simply waistless) came about much later:)

Or rather the Princess seams to the armscye;) There are also panels shaped
similarly to a princess panel but they don't go over the bust and there are
still bust darts to shape.

I'd look at Nora Waugh's Corset's and Crinolines. There are some nice
contemporary quotes in the back half about what bustles should be used for
what time.

My favourite style it the ligotee (sorry no accents on this comp, can't
figure out the quick keys either) or Cuirasse style from 1876 or so. The
really tight dresses of around 1878-80 are sometimes extremely charming:)

michaela
http://costumes.glittersweet.com


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At 12:01 PM 9/3/2003 -0600, you wrote:

>I love this list.  After 30 years of renaissance faire, people are finally 
>starting to question all the rules handed to us when we start in favor of 
>historical accuracy.  What a prettier place the world is going to be!!
Not if I go naked!!

thanks for the info on green... maryann

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From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] 16th century women's hats
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At 10:52 PM -0500 9/2/03, Sarafina Sinclair wrote:
>My theory is that the completely flat, 3 donut + 1 complete circle of
>fabric, cut and construction method of making "tudor flat caps" is not a hat
>style that was worn by women of any social class in England in the 16th
>century.

At 5:46 PM -0700 9/1/03, kat@grendal.rain.com wrote:
>As to whether the crown was pleated or gathered into the brim, that's
>a little more complicated. The Holbein drawing I'm thinking of is
>definitely of that type. Most of the others, including for men (such
>as the halo bonnet) did have the crown pleated in, albeit in such a
>manner that it was soft and flat, not the high crowned types like you
>see in Janet Arnold's Patterns of Fashion 1560-1620 or the arch
>brimmed hats like on Lady Kylson that has been discussed earlier.

I can tell you that the two sources I've seen that analyze surviving 
examples of the _knitted_ version of these "flat caps" say that they 
are definitely _decreased_ into the brim and _not_ pleated or 
gathered. So they seem to be closer to the "donut" construction than 
the pleated woven-fabric hats you're describing.

Of course, this may be a function of the construction technique -- 
it's easy to do smooth decreases in knitting and it's difficult and 
bulky to try to pleat or gather it. Also, knitting can shape the 
entire hat in one piece with no seams, which you obviously can't 
easily do with woven fabric. So this may not be at all relevant to 
the construction of woven-fabric examples.

I'd also suggest shrinking/felting as another way to stiffen such a 
cap, providing it's made of wool. Though I have to admit that the one 
I've made and felted is definitely more ripply than flat.

The costuming director of my guild also pointed out to me that if you 
cut woven fabric in ovals rather than circles for your head opening 
and outer shapes, the hat sits much flatter. If you cut circles, 
since most people's heads are oval, the hat will ripple on the head 
and tend to "dip" in front and back. I don't know whether either or 
both of these constructions is supported by the pictorial evidence. 
AFAIK both the surviving knitted ones are circular.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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I've also heard (hearsay again) that QEI personally disliked wearing 
green and seldom did so.

However another significance of green and white is that they are the 
colors of Tudor servants' livery. If you keep your eyes open you will 
occasionally see green and white striped or paneled tunics on 
servants in the backgrounds of pictures of Tudor royalty.

(When James Stuart became king of England, the royal livery changed 
to red and gold, the Stuart livery colors, and has remained those 
colors ever since. James is also credited/blamed for being the first 
monarch of England to _insist_ on being called "Your Majesty" -- the 
imperial title -- instead of the "merely royal" title "Your Grace.")
-- 
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|     <claning@igc.org>
+    Davis, California
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This is just fascinating.
Do you have any more info about the article? I think I'll have to try to
ILL it....
--sue, who really should be getting ready for work instead of drooling
at colors.....

Melanie Schuessler wrote:
> 
 
> Try "The Rates of the London Custom House in 1550" by Joan Edwards and
> J. L. Nevinson from Costume, volume 4 (1970).  There are quite a number
> of fabrics and some dyes listed for import, and few of the fabrics are
> listed by color.  The ones that are make a distinction between the
> fabric that is in grain/crimson/purple and that which is not, so there
> is some basis for the "purple taxed higher" assertion.  Here are the
> exceptions and the dyes--at least the ones I can identify:
> 
> Brasell the C. pounde xxxiii.s.iiii.d.
> Brasel the pounde iiii.d.
> 
> Damaske the yarde iiii.s.
> Damaske crymsyn or purple the yarde vi.s.viii.d.
> 
> Graynes the hundreth pounde l.s.
> Grayne of Portyngle called rote the pounde xvi.d.
> Grayne of sevell the pounde xii.d.
> Grayne pouder the pounde ii.s.
> 
> Gaules the hundreth pounde xiii.s.iiii.d.
> 
> Mul madder the bale xx.s.
> Madder the bale l.s.
> Madder the C. pounde vi.s.viii.d.
> 
> Orchel the laste xl.s.
> Orchell the pounde xiii.s.iiii.d.
> 
> Rosset the pounde vi.d.
> 
> Satten out of grayne the yarde v.s.
> Satten right crimisin in grayne or purple the yarde x.s.
> Satten counterfete crimsin ye yard vi.s.viii.d.
> Satten tinseld with gold the yarde xiii.s.iiii.d.
> Satten of bruges the yarde xx.d.
> Satten of bruges counterfete tynselde the yarde iii.s.iiii.d.
> 
> Tarmaret the C. pounde xl.s.
> 
> Velvet ryghte crymisyn in grayne the yarde xiii.s.iiii.d.
> Velvet of all collors out of grayne the yarde vii.s.vi.d.
> 
> Woad of gascone the pype iii pound vi.s.viii.d.
> Woad of the Ile of Surrey teh ballet x.s.
> Woad of the Ile of Assorns the ballet x.s.
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I have been asked to make a 1870s corset for a friend who is a size 32. The largest size pattern I have is the Laughing Moon Dore corset.

I am wondering the best way to size up the pattern to fit my friend. Would it be best to just extend the pattern pieces as printed or to make additional gores? Would it be a good idea to add extra boning channels?

>From what she said she wants the corset more for the way it looks than to actually pull in her figure any great amount. Given that she has lots of trouble finding even modern clothes that fit I'd like to be able to make the corset for her.

Any advice or suggestions would be greatly appreciated. 

Many thanks,

Christine Krebs-Bonder
Dayton, OH
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Help needed with a 1870s corset pattern
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Christine,

As a larger lady myself (and one who has made corsets for larger ladies),
I've found that we tend to have a higher "squish" factor and therefore
mold more easily to a given corset's shape. Therefore I doubt that extra
gores would be needed; expanding the pieces should be enough. The one
thing I would look out for is that the corset is tight enough, due to the
squish factor mentioned above. You may end up taking another inch or two
off the back edges, even when the corset measurements match up with what
they should be.

I didn't know you were in Dayton--I live 20 minutes outside of Dayton!
Small world.  Let me know if you ever want to stop by my Thursday Sewing
Circle.

Happy corseting,

Drea



On Thu, 4 Sep 2003, Christine Krebs-Bonder wrote:

> I have been asked to make a 1870s corset for a friend who is a size 32. The largest size pattern I have is the Laughing Moon Dore corset.
>
> I am wondering the best way to size up the pattern to fit my friend. Would it be best to just extend the pattern pieces as printed or to make additional gores? Would it be a good idea to add extra boning channels?
>
> >From what she said she wants the corset more for the way it looks than to actually pull in her figure any great amount. Given that she has lots of trouble finding even modern clothes that fit I'd like to be able to make the corset for her.
>
> Any advice or suggestions would be greatly appreciated.
>
> Many thanks,
>
> Christine Krebs-Bonder
> Dayton, OH
> _______________________________________________
> 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] Help needed with a 1870s corset pattern
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The trouble with just adding extra to pattern pieces is that angles and 
slopes and curves need to change as well as measurements. HOWEVER, if the corset is 
a lot of pieces, adding to the existing seams can work. Like: if the corset 
is 8 pieces, if you add 1/2" to each side of each seam, you've just added 8". 
But like I say, curves and slopes will need adjusting.

There is a great method for enlarging patterns in the back of one of Janet 
Arnold's books, I believe Vol. I of "Patterns of Fashion". 

At any rate, you may want to make up a muslin corset boned with Rigelene and 
lots of seam allowance. Baste it up with the seam allowance on the OUTSIDE and 
fit it on her.

Have fun!
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Subject: Re: [h-cost] Help needed with a 1870s corset pattern
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In a message dated 9/4/2003 12:36:37 PM Eastern Daylight Time, 
AlbertCat@aol.com writes:

> At any rate, you may want to make up a muslin corset boned with Rigelene 
> and 
> lots of seam allowance. Baste it up with the seam allowance on the OUTSIDE 
> and 
> fit it on her.
> 

I forgot to add:

You needn't be fussy with the mock up. Just zig-zag the Rigelene to the 
outside of the muslin pattern pieces. 

This will help determine if you need more boning too. But I always say, the 
more bones the better! ;-)

Ciao!
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From: Tania Gruning <tania_gr17@yahoo.com>
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Hi all.
I work at a store that sell posters and frame pictures. I had the great opportunity to see a very high quality print of Holbeins portrait of Sir Thomas Moore. I have never seen the picture in real life, but the glowing color and the tecture of the clothes almost make you feel like Sir Thomas is about to step out. I get a feeling from the picture that he was a decisive man and not one to cross. The poster came from the Frick Collection in New York, and as i reside in Denmark i have no financial benefit of praising this poster.
Tania


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I would like to see someone do the reconstruction of this outfit, would look fabolous on a middle age man. (with something to hide :-)) 
The Velvet sleeves of the doublet, i assume is inside the robe look so luxurious.
 
Tania


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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1870s bustle pattern?
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That's the one I ended up getting...thanks,

Drea


On Wed, 3 Sep 2003, Sunny Buchler wrote:

> I used the Truly Victorian bustle pattern, and am very pleased with it (it's TV101 Petticoat with Wire Bustle) You can get it at http://trulyvictorian.netfirms.com/undies.html
>
> 	-sunny
>
> > Message: 4
> > Date: Wed, 3 Sep 2003 16:32:11 -0400 (EDT)
> > From: Drea Leed <drea@nospam>
> > Subject: [h-cost] 1870s bustle pattern?
> > To: h-costume@indra.com
> > Message-ID: <20030903163051.W86904-100000@shell.siscom.net>
> > Content-Type: TEXT/PLAIN; charset=US-ASCII
> >
> >
> > Dear list,
> >
> > does anyone know of a good 1870s bustle pattern available?
> > I've seen a
> > few, but am far enough from my preferred costume timeframe
> > that I don't
> > know which would be the best for an 1870s evening gown.  Any
> > help would
> > be greatly appreciated.
> >
> > Thanks,
> >
> > Drea
>
>
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1870s bustle pattern?
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The "stereotypical" victorian...it's for a modern costume piece, so I want
the typical characteristics exaggerated as much as I can while remaning
authentic.

I checked out the Truly Victorian site--amazing!  I had planned to draft a
cuirass bodice myself, but decided I might as well start my sloper off of
their pattern...and those skirt & bustle patterns are truly mouthwatering.
I grabbed several of them, just to have, including their bustle &
petticoat pattern.

Thanks,
Drea

On Thu, 4 Sep 2003, Melanie Wilson wrote:

> I have a load I've done myself what type are you after ?
>
> Mel
>
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Subject: Re: [h-cost] Help needed with a 1870s corset pattern
Date: Thu, 4 Sep 2003 10:42:22 -0700
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In a situation like this, where I need to make a pattern wider, I have
usually add the extra in the center. I cut the pattern piece up the
enter  - horizontally and often following the grain line - so I have two
pieces instead of one, with one side being straight.  I then add the extra
in the center by either pinning the pieces equal distance apart on the
fabric (if it is only 1-2 inches) or by cutting a straight section and
taping it in if it is more.  Or,for example, if I need more at the bottom
then the top, I slant the pieces outward toward the bottom.  I then cut it
out as if it is all one piece.  If, in the case of a corset, this makes one
section really large, will I cut it out as two pieces, with a generous
seamline, adding the extra to what used to be the center and cutting the new
seam line as a straight line.

If I need to make a pattern longer, I cut it the on the vertical where ever
it will add the best, but this works the best if it is only a small amount
as it is tricker.

I always do a careful fitting esp. for corsets when I add a lot to a
pattern. Here, if you cut one piece into two and have a seam that is a
straight line, you can adjust the width of the seam and you end up with the
right curves. And do the first time through as a mockup if you are making
big adjustments.  or do the lining first (this doesnt' work as well).

If I end up adding extra boning, I follow the pattern of the boning, if it
is straight along the seamline, I add a straight piece, If it is curved, I
kinda average it between the two adjacent boning channels.

You have to have through and accurate measurements to best do this.  Not
only the a bust and waist, but also the back width and side and front. And
shoulder to waist and waist to hip. This tells you where to add.

Ask me if you have any questions.
Susan
>


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Many thanks to everyone for the advice folks have posted in response to my question!

Hi Drea! Yep, I'm in Dayton (onthe north side). since I don't have any college classes this fall I should be able to come to the Thursday sewing nights starting the week after next (I have a church service to sing at on the evening of September 11th).

Christine in Dayton, OH


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What oufit?


 --- Tania Gruning <tania_gr17@yahoo.com> wrote: > I
would like to see someone do the reconstruction of
> this outfit, would look fabolous on a middle age
> man. (with something to hide :-)) 
> The Velvet sleeves of the doublet, i assume is
> inside the robe look so luxurious.
>  
> Tania
> 
>

=====


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> I work at a store that sell posters and frame pictures. I had the
> great opportunity to see a very high quality print of Holbeins
> portrait of Sir Thomas Moore. I have never seen the picture in real
> life, but the glowing color and the tecture of the clothes almost make
> you feel like Sir Thomas is about to step out. I get a feeling from
> the picture that he was a decisive man and not one to cross. The
> poster came from the Frick Collection in New York, and as i reside in
> Denmark i have no financial benefit of praising this poster. Tania

You are probably better off than the people who (like me) who have 
actually gone to the museum to see it. Part of it was the time of 
day, but the room is lit very oddly (for a museum, but it once was a 
house, which may account for some of it) and there was so much glare 
on the painting that you can't really see it well.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Speaking of hats... 1500s German Noblewomen?
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I've seen various Landsknecht sites, which are great in my search for 
that hat last year for a friend...

Now I've another friend who is trying to complete a German outfit .... 
1500s (sorry, can't remember the exact year) noblewoman.  Somehow I 
don't think that those big pancake hats would do it for her :-)

Does anyone out there have any pointers to pictures or construction 
information for various hats that fall into the German states at that 
time?  Other than the famous Anne of Cleves one, that is...


Thanks!
-Elisabeth


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Date: Thu, 4 Sep 2003 15:24:46 -0400 (EDT)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Re: [h-cost] Help needed with a 1870s corset pattern
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Cool!  I look forward to seeing you sometime.  Directions to my place are
online at http://costume.dm.net/~drea/sewnight.html

Drea


On Thu, 4 Sep 2003, Christine Krebs-Bonder wrote:

> Many thanks to everyone for the advice folks have posted in response to my question!
>
> Hi Drea! Yep, I'm in Dayton (onthe north side). since I don't have any college classes this fall I should be able to come to the Thursday sewing nights starting the week after next (I have a church service to sing at on the evening of September 11th).
>
> Christine in Dayton, OH
>
>
> _______________________________________________
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Well, quel coincidence! While looking for images of early 16th century 
women wearing hats, I found this image of Jean Clouet (1485/90 - 1541) 
(attributed to) 'Princess Marguerite of Angouleme' c. 1530:
http://www.liverpoolmuseums.org.uk/walker/displaycollections.asp?[file]=az/p.html
It has both an interesting hat and mentions that the parrot in the 
picture "may also symbolise love, its green colour denoting passion." No 
source for that statement, though. sigh.

- Hope

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----- Original Message -----
From: "Hope Greeenberg" <hope.greenberg@uvm.edu>
To: <h-costume@net.indra.com>
Sent: Thursday, September 04, 2003 3:46 PM
Subject: [h-cost] Hats and Green


> Well, quel coincidence! While looking for images of early 16th century
> women wearing hats, I found this image of Jean Clouet (1485/90 - 1541)
> (attributed to) 'Princess Marguerite of Angouleme' c. 1530:
>
http://www.liverpoolmuseums.org.uk/walker/displaycollections.asp?[file]=az/p
.html
> It has both an interesting hat and mentions that the parrot in the
> picture "may also symbolise love, its green colour denoting passion." No
> source for that statement, though. sigh.
>
> - Hope

What a lovely portrait! All birdie lovers on the list thank you for that.

I do love Clouet's portraits.BTW, the bird looks distinctly like an Indian
Ringneck.

Dianne


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Sue Clemenger wrote:
> This is just fascinating.
> Do you have any more info about the article? I think I'll have to try to
> ILL it....

I have the article.  Do you have a specific question, or were you just 
wondering what's in it?  To answer the latter, it has a couple of pages 
of commentary at the front about import duties and things, and then the 
listing of import items that carried a tax and how much for each from 
the London Customs House in 1550, plus a helpful but not all-inclusive 
glossary at the back.

Happy ILLing,
Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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At 10:14 AM 9/4/2003 -0600, you wrote:
>I have been asked to make a 1870s corset for a friend who is a size 32. 
>The largest size pattern I have is the Laughing Moon Dore corset.
>
>I am wondering the best way to size up the pattern to fit my friend. Would 
>it be best to just extend the pattern pieces as printed or to make 
>additional gores? Would it be a good idea to add extra boning channels?
That is about how big I am.  When Joann fit me, she had me try on a shell 
out of the largest size and then she fit it to me.  It turned out that all 
I had to do was to ad about a half an inch at the hip of each panel.  I 
would suggest that you make the fitting shell, sew it closed in the center 
back and then wrap it around her to see how it fits.  Some of the need for 
adjustment is based on your "squish" factor. maryann

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Thank you ever so much for this!  From my early readings it does sound like
various taxes and seals were applied during various stages of the domestic
manufacturing process too.  And no doubt with a bit more time, info should
not be all that hard to track down.  Thanks for this tip off.  A higher tax
on purple......very interesting!  I definitely think these sorts of
documents need webbing so the origins of  "costuming rules" don't get
distorted in the old game of telephone.

Cheers to you too!


Lisa Sinervo
www.ThrednedleStrete.com


----- Original Message -----
From: "Melanie Schuessler" <melanie@faucet.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 03, 2003 9:19 PM
Subject: Re: [h-cost] speaking of colours..........


> Lisa Sinervo wrote:
>  > I've been doing a bit of reading lately on the sealing of cloth and
>  > the use of lead seals and David Egan does mention that different
>  > colours were taxed at different rates.  Unfortunately, no specific
>  > reference to any one document he bases this on that I can order and
>  > find which colours were taxed what.  (wouldn't research be nice if it
>  > was this easy!!)  I've quite a bit more available to read on this but
>  > I thought I would ask if anyone knows more about this.
>  >
>  > The renfair crowd does talk about purple being taxed higher, so
>  > someone might know at least something about this. It does appear it
>  > was not just a purple rule, but a taxation system that involved
>  > probably all colours.  I'm most interested in England.
>
> Try "The Rates of the London Custom House in 1550" by Joan Edwards and
> J. L. Nevinson from Costume, volume 4 (1970).  There are quite a number
> of fabrics and some dyes listed for import, and few of the fabrics are
> listed by color.  The ones that are make a distinction between the
> fabric that is in grain/crimson/purple and that which is not, so there
> is some basis for the "purple taxed higher" assertion.  Here are the
> exceptions and the dyes--at least the ones I can identify:
>
> Brasell the C. pounde xxxiii.s.iiii.d.
> Brasel the pounde iiii.d.
>
> Damaske the yarde iiii.s.
> Damaske crymsyn or purple the yarde vi.s.viii.d.
>
> Graynes the hundreth pounde l.s.
> Grayne of Portyngle called rote the pounde xvi.d.
> Grayne of sevell the pounde xii.d.
> Grayne pouder the pounde ii.s.
>
> Gaules the hundreth pounde xiii.s.iiii.d.
>
> Mul madder the bale xx.s.
> Madder the bale l.s.
> Madder the C. pounde vi.s.viii.d.
>
> Orchel the laste xl.s.
> Orchell the pounde xiii.s.iiii.d.
>
> Rosset the pounde vi.d.
>
> Satten out of grayne the yarde v.s.
> Satten right crimisin in grayne or purple the yarde x.s.
> Satten counterfete crimsin ye yard vi.s.viii.d.
> Satten tinseld with gold the yarde xiii.s.iiii.d.
> Satten of bruges the yarde xx.d.
> Satten of bruges counterfete tynselde the yarde iii.s.iiii.d.
>
> Tarmaret the C. pounde xl.s.
>
> Velvet ryghte crymisyn in grayne the yarde xiii.s.iiii.d.
> Velvet of all collors out of grayne the yarde vii.s.vi.d.
>
> Woad of gascone the pype iii pound vi.s.viii.d.
> Woad of the Ile of Surrey teh ballet x.s.
> Woad of the Ile of Assorns the ballet x.s.
>
>
> Cheers,
> Melanie Schuessler
>
>
>
> http://www.faucet.net/costume
> Assistant Professor of Costume Design and Construction
> Coastal Carolina University
>
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From h-costume-bounces@indra.com  Fri Sep  5 17:37:17 2003
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Subject: Re: [h-cost] Speaking of hats... 1500s German Noblewomen?
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If you can get hold of the following book:
The Thyssen-Bornemisza Collection: Early German Painting 1350-1550
there are several head coverings
for example:
Albrecht Altdorfer: Portrait of a woman
Anonymous Master: Portrait of a woman wearing the Order of the swan (1596) 
(Really crazy, unusual hat)
Anonymous Master of the School of Lucas Cranach the Elder: Portrait of a 
woman aged 26
Anonymous Master: Portrait of Anna Duerer, Wife of Hieronimus Fletcher, aged 
22
Anonymous Master active at the Tyrollean Court 1485: Portrait of Kunigunde of 
Austria (an almost Burgundian looking hat)
barthel Beham: Portrait of Ursula Rudolph, Wfe of Ruprect Stuepf
Joerg Breu the Elder: Portrait of Coloman Helmschmid and his wife Agnes Breu
Barthel Bryn Pair of Portraits spec. Portrait of a woman
Lucas Cranach the Younger: Portrait of a woman
and probably my favorite:
Hans Mahler: Portrait of Anne of Hungary and Bohemia
I wished my scanner was working, but it isn't.  So maybe you can get the book 
on inter library loan.  There are lots portraits that are not seen as often, 
and great hats!
Elisabeth
  
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Date: Thu, 4 Sep 2003 19:31:57 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Re: 16th C hats
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At 9:26 AM -0700 9/3/03, kat@grendal.rain.com wrote:
>
>We know more about those caps that are knitted than just seeing a
>couple in museums or modern books such as Rutt. They were called
>"Statute Caps" based on an English statute of 1571 (repealed in 1597)
>which stated that all above the age of six years except the nobility
>and other persons of degree, should on Sabbath-days and holy-days
>(which were about every other day in period compared to now), wear
>caps of wool, manufactured in England. It was done in part to
>encourage the knitters industry that Elizabeth was trying to foster.
>Of course, like most sumptuary laws, people more often ignored it
>than stuck to it. But it had one effect: suddenly this style was a
>lot *less* popular with everyone.

Hmm. Are you sure that the use of knitted construction and the "flat 
cap" style are specifically mentioned? I haven't seen the text of the 
actual statute. I would have thought that a wool felt hat, for 
instance, could meet the requirement.

If a knitted cap is meant (which could well be the case) my first 
thought would be for a simple bowl-shaped cap, of which there are 
also surviving examples. (I believe the woman at 
http://www.qualitycaps.co.uk/ is the one who wrote an article 
suggesting that the "Monmouth" cap is a variation of this type.)

This is relevant to me at the moment because I'm engaged in making a 
bowl-shaped knitted hat, which I'm planning to felt, as a prop for a 
theatrical gig addressing this Elizabethan "wool caps" statute. 
(Funny thing: the only affordable yarn the right size at my favorite 
yarn store was BRIGHT PURPLE, so that's what it's going to be! At 
least it will get attention...<g>)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: "Glenda Robinson" <glendar@compassnet.com.au>
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The time has finally come for Wayne and I to get to the UK! After the
dreaded 24 hour flight (urk!) we'll arrive in London at 6am on Sunday.

We'll be back the second week of October. I'll be going to the standard
costume places - Bath, Nottingham, V&A as well as doing the museum/castle
crawl. We're heading around the coast of SE England, York, Leeds (royal
armouries), SW to SE Wales, and to St Albans via Bath and the Salisbury
Plains. We then have a week in London for the final museum leg.

We'll take heaps of photos.

Glenda

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Date: Thu, 4 Sep 2003 22:12:18 -0700 (PDT)
From: Tania Gruning <tania_gr17@yahoo.com>
Subject: Re: [h-cost] p.s.
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The outfit of Sir Thomas Moore painted by Holbein the younger.
I had sent of an earlier post about seeing a very high quality print of that painting
Tania

Catalina Sanabria Rosado <ladyforbeys@yahoo.com> wrote:
What oufit?


--- Tania Gruning wrote: > I
would like to see someone do the reconstruction of
> this outfit, would look fabolous on a middle age
> man. (with something to hide :-)) 
> The Velvet sleeves of the doublet, i assume is
> inside the robe look so luxurious.
> 
> Tania
> 
>

=====


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Subject: [h-cost] Corset and bustle comparion pages
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Hi,

Found some interesting pages
Corset comparison page
http://www.farthingales.on.ca/corset_comparison.htm

Bustles shape comparison page
http://www.farthingales.on.ca/bustle_comparison.htm

Greetings,
        Deredere


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Date: Fri, 05 Sep 2003 14:50:33 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Speaking of hats... 1500s German Noblewomen?
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The Dover book of Albrecht Durer woodcuts shows something on the head of 
every woman, including the German version of the flat cap on some.  He 
worked in Nuremburg in the very-early 1500s.  The Dover book that used to 
be called something like Ren. Woodcuts for Artists, all Jost Amman stuff 
from mid to late 1500s Nuremburg, also shows headwear on all the women, 
including later German version flat caps on some.

>If you can get hold of the following book:
>The Thyssen-Bornemisza Collection: Early German Painting 1350-1550
>there are several head coverings
>for example:
>Albrecht Altdorfer: Portrait of a woman
>Anonymous Master: Portrait of a woman wearing the Order of the swan (1596)
>(Really crazy, unusual hat)
>Anonymous Master of the School of Lucas Cranach the Elder: Portrait of a
>woman aged 26
>Anonymous Master: Portrait of Anna Duerer, Wife of Hieronimus Fletcher, aged
>22
>Anonymous Master active at the Tyrollean Court 1485: Portrait of Kunigunde of
>Austria (an almost Burgundian looking hat)
>barthel Beham: Portrait of Ursula Rudolph, Wfe of Ruprect Stuepf
>Joerg Breu the Elder: Portrait of Coloman Helmschmid and his wife Agnes Breu
>Barthel Bryn Pair of Portraits spec. Portrait of a woman
>Lucas Cranach the Younger: Portrait of a woman
>and probably my favorite:
>Hans Mahler: Portrait of Anne of Hungary and Bohemia
>I wished my scanner was working, but it isn't.  So maybe you can get the book
>on inter library loan.  There are lots portraits that are not seen as often,
>and great hats!
>Elisabeth
>
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        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Subject: [h-cost] Threads Magazine vintage corset and bustier instructions
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The latest edition of Threads magazine has a photo of a  very nice vintage
corset (18th century) corset with little built in hippads....it also has a
related article on modern bustier/corset making complete with pictures of
materials (boning, padding, etc.)

Sg 



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Subject: [h-cost] Midsummer Night's Dream the movie
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Does anyone know of a site online with pictures or anything else regarding the costumes from this movie?

Thanks,

                  ,%%%,
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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	<p05100301bb7da4369e73@[66.81.241.24]>
Subject: proclamations regarding caps Re: [h-cost] Re: 16th C hats
Date: Fri, 5 Sep 2003 17:29:29 -0700
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Chris wrote:

>
> Hmm. Are you sure that the use of knitted construction and the "flat
> cap" style are specifically mentioned? I haven't seen the text of the
> actual statute. I would have thought that a wool felt hat, for
> instance, could meet the requirement.
>
You can find a listing of the royal proclamations for caps at
http://www.thrednedlestrete.com/Proclamations.htm  plus a link to the text
of the cap statute from 1573,

Cheers,

Lisa Sinervo
www.ThrednedleStrete.com


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Have a wonderful time!!!

Lisa

----- Original Message ----- 
From: "Glenda Robinson" <glendar@compassnet.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 04, 2003 8:59 PM
Subject: [h-cost] Leaving on a jet plane...


> The time has finally come for Wayne and I to get to the UK! After the
> dreaded 24 hour flight (urk!) we'll arrive in London at 6am on Sunday.
> 
> We'll be back the second week of October. I'll be going to the standard
> costume places - Bath, Nottingham, V&A as well as doing the museum/castle
> crawl. We're heading around the coast of SE England, York, Leeds (royal
> armouries), SW to SE Wales, and to St Albans via Bath and the Salisbury
> Plains. We then have a week in London for the final museum leg.
> 
> We'll take heaps of photos.
> 
> Glenda
> 
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Subject: Re: [h-cost] Midsummer Night's Dream the movie
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On Fri, 5 Sep 2003 17:02:39 -0700 "Joan Broneske" <unicorn@surewest.net>
writes:
> Does anyone know of a site online with pictures or anything else 
> regarding the costumes from this movie?
> 
> Thanks,


        Are you talking about the one with Kevin Kline (I THINK), Calista
Flockhart... I can't think of the others right now?  If so, I can check
around.

Astrid
Never argue with a dragon, for thou art crunchy and go well with Brie.
    http://www.geocities.com/tul_juriss - for links to ALL my current
sites
    http://www.geocities.com/astridofthehorde - costumes I've made
    http://www.geocities.com/house_qul_mupwi - The noble Klingon House
    http://www.geocities.com/klingon_pirates_guild - The Klingon Pirate's
Guild

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Midsummer Night's Dream the movie
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>Does anyone know of a site online with pictures or anything else regarding 
>the costumes from this movie?

I can think of two, offhand:  The recent one (1999) with people like Kevin 
Kline and Rupert Everett and Michelle Pfeiffer and Stanley Tucci in it 
(http://us.imdb.com/title/tt0140379/), and the 1935 one with people like 
Mickey Rooney and James Cagney and Olivia de Haviland and Victor Jory in it 
(http://imdb.com/title/tt0026714/).  Which one were you thinking of?  BTW, 
IMdB.com is a great place to look up films, actors, etc.  Follow the links 
on the left-hand side, to things like photos, articles, interviews, etc. 
about the films.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: proclamations regarding caps Re: [h-cost] Re: 16th C hats
Date: Fri, 5 Sep 2003 17:57:18 -0700
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Chris, I'm preparing some of these proclamations in period replic fonts for
downloading to use at faires or where ever.  If you want the caps statute
done up, let me know and I'll whip it up.  I've got 17c print fonts as well
as hand of the court of the king/queens bench and some others.  It seems
that the statutes regarding caps from the other dates are the same as the
1573 text.  I'm not 100% sure about this, but about 99% sure.

Lisa Sinervo
www.ThrednedleStrete.com




----- Original Message -----
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 05, 2003 5:29 PM
Subject: proclamations regarding caps Re: [h-cost] Re: 16th C hats


> Chris wrote:
>
> >
> > Hmm. Are you sure that the use of knitted construction and the "flat
> > cap" style are specifically mentioned? I haven't seen the text of the
> > actual statute. I would have thought that a wool felt hat, for
> > instance, could meet the requirement.
> >
> You can find a listing of the royal proclamations for caps at
> http://www.thrednedlestrete.com/Proclamations.htm  plus a link to the text
> of the cap statute from 1573,
>
> Cheers,
>
> Lisa Sinervo
> www.ThrednedleStrete.com
>
>
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Subject: [h-cost] 1530's German dress
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 HiI've been wanting to reproduce a dress based on Lucas Cranach's paintings -1530's German. Many of his women wear a similar style dress with a beautiful band across the top of the bodice with lacing over a white base under her breasts. What is the white part? It seems odd to me that it would be her chemise.-there is often white puffs on the sleeves as well. Also, is the lacing purely decorative? If they are for adjustment, how is the upper band affected? ThanksCheers,Emmawww.hecate.ca/emma/ 

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References: <20030905.184332.768.2.btana@juno.com>
Subject: Re: [h-cost] Midsummer Night's Dream the movie
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Yes, that's the one.  Thanks.


                  ,%%%,
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Joan Broneske          ||       `>> >     unicorn@surewest.net
                        ||       ///`
                       /(      //(
----- Original Message ----- 
From: <btana@juno.com>
To: <h-costume@indra.com>
Sent: Friday, September 05, 2003 5:43 PM
Subject: Re: [h-cost] Midsummer Night's Dream the movie


> 
> On Fri, 5 Sep 2003 17:02:39 -0700 "Joan Broneske" <unicorn@surewest.net>
> writes:
> > Does anyone know of a site online with pictures or anything else 
> > regarding the costumes from this movie?
> > 
> > Thanks,
> 
> 
>         Are you talking about the one with Kevin Kline (I THINK), Calista
> Flockhart... I can't think of the others right now?  If so, I can check
> around.
> 
> Astrid
> Never argue with a dragon, for thou art crunchy and go well with Brie.
>     http://www.geocities.com/tul_juriss - for links to ALL my current
> sites
>     http://www.geocities.com/astridofthehorde - costumes I've made
>     http://www.geocities.com/house_qul_mupwi - The noble Klingon House
>     http://www.geocities.com/klingon_pirates_guild - The Klingon Pirate's
> Guild
> 
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
> Surf the web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
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> You can find a listing of the royal proclamations for caps at
> http://www.thrednedlestrete.com/Proclamations.htm  plus a link to the
> text of the cap statute from 1573,

Thanks Lisa.

It sure shows how many problems they had getting sumptuary laws to 
work! And they were a wordy bunch. It's hard to find the actual 
information amongst all the flowery language. They are worse than 
modern laws and lawyer talk!

Kat
<kat@redtrollforge.com>


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> Hmm. Are you sure that the use of knitted construction and the "flat
> cap" style are specifically mentioned? I haven't seen the text of the
> actual statute. I would have thought that a wool felt hat, for instance,
> could meet the requirement.

I've only seen bits and clips of it, but it was definitely knitted as 
it was specifically to promote that industry. I think that Elizabeth 
thought that if she could encourage the knitting industry, it might 
help with their major unemployment program. It was sort of like a 
public works project type of thing.

In the quote from the statute that I've read it says "...one cap of 
wool knit, thicked and dressed in England, upon the forfeiture of 3s. 
4d." And that women "...were constrained to wear white knit caps of  
woollen yarn, uless their husbands were of good value in the Queen's  
book, or could prove themselves gentlemen by descent..."

> If a knitted cap is meant (which could well be the case) my first
> thought would be for a simple bowl-shaped cap, of which there are also
> surviving examples. (I believe the woman at
> http://www.qualitycaps.co.uk/ is the one who wrote an article suggesting
> that the "Monmouth" cap is a variation of this type.)

I believe you are referring to the Costume Volume 13, 1979 article 
(page 23-37) "The Monmouth Cap" by Kirstie Buckland. While she 
discusses the 1571 law, I believe that she is otherwise talking about 
the Monmouth cap, which was called that even in Elizabeth's time. But 
it was a cap which continued to be worn even by the aristocracy in 
the time when the Statute Cap was being avoided, so I doubt that they 
had the same shape. 

The Monmouth cap always reminds me of a woolen ski cap or a sailors 
woolen cap, whereas the ones I've seen labeled as "Statute caps" have
looked closer to the style of the hats which look more like a 
variation on a beret but with a brim or even a newsboy hat of the 
early 20thC.

> This is relevant to me at the moment because I'm engaged in making a
> bowl-shaped knitted hat, which I'm planning to felt, as a prop for a
> theatrical gig addressing this Elizabethan "wool caps" statute. (Funny
> thing: the only affordable yarn the right size at my favorite yarn store
> was BRIGHT PURPLE, so that's what it's going to be! At least it will get
> attention...<g>) --

Yow! Have you considered dyeing it at the same time you are fulling 
it?

Kat
<kat@redtrollforge.com>


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Kat wrote: >

> In the quote from the statute that I've read it says "...one cap of
> wool knit, thicked and dressed in England, upon the forfeiture of 3s.
> 4d." And that women "...were constrained to wear white knit caps of
> woollen yarn, uless their husbands were of good value in the Queen's
> book, or could prove themselves gentlemen by descent..."
>

This is obviously a different statute that I haven't come across, no doubt
there are many more, do you have an exact date for this one?

Thanks,

Lisa


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Subject: Re: [h-cost] Midsummer Night's Dream the movie
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Joan,

Which version? What year?

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
----- Original Message ----- 
From: "Joan Broneske" <unicorn@surewest.net>
To: "H-Costume" <h-costume@indra.com>
Sent: Friday, September 05, 2003 8:02 PM
Subject: [h-cost] Midsummer Night's Dream the movie


Does anyone know of a site online with pictures or anything else regarding
the costumes from this movie?

Thanks,

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Subject: Re: [h-cost] Midsummer Night's Dream the movie
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Status: RO

I did a review of the Kevin Klein version.  It is online.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
----- Original Message ----- 
From: <btana@juno.com>
To: <h-costume@indra.com>
Sent: Friday, September 05, 2003 8:43 PM
Subject: Re: [h-cost] Midsummer Night's Dream the movie


>
> On Fri, 5 Sep 2003 17:02:39 -0700 "Joan Broneske" <unicorn@surewest.net>
> writes:
> > Does anyone know of a site online with pictures or anything else
> > regarding the costumes from this movie?
> >
> > Thanks,
>
>
>         Are you talking about the one with Kevin Kline (I THINK), Calista
> Flockhart... I can't think of the others right now?  If so, I can check
> around.
>
> Astrid
> Never argue with a dragon, for thou art crunchy and go well with Brie.
>     http://www.geocities.com/tul_juriss - for links to ALL my current
> sites
>     http://www.geocities.com/astridofthehorde - costumes I've made
>     http://www.geocities.com/house_qul_mupwi - The noble Klingon House
>     http://www.geocities.com/klingon_pirates_guild - The Klingon Pirate's
> Guild
>
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
> Surf the web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
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Thanks, I'll check it out!

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----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 05, 2003 9:30 PM
Subject: Re: [h-cost] Midsummer Night's Dream the movie


> I did a review of the Kevin Klein version.  It is online.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
> ----- Original Message ----- 
> From: <btana@juno.com>
> To: <h-costume@indra.com>
> Sent: Friday, September 05, 2003 8:43 PM
> Subject: Re: [h-cost] Midsummer Night's Dream the movie
>
>
> >
> > On Fri, 5 Sep 2003 17:02:39 -0700 "Joan Broneske" <unicorn@surewest.net>
> > writes:
> > > Does anyone know of a site online with pictures or anything else
> > > regarding the costumes from this movie?
> > >
> > > Thanks,
> >
> >
> >         Are you talking about the one with Kevin Kline (I THINK),
Calista
> > Flockhart... I can't think of the others right now?  If so, I can check
> > around.
> >
> > Astrid
> > Never argue with a dragon, for thou art crunchy and go well with Brie.
> >     http://www.geocities.com/tul_juriss - for links to ALL my current
> > sites
> >     http://www.geocities.com/astridofthehorde - costumes I've made
> >     http://www.geocities.com/house_qul_mupwi - The noble Klingon House
> >     http://www.geocities.com/klingon_pirates_guild - The Klingon
Pirate's
> > Guild
> >
> > ________________________________________________________________
> > The best thing to hit the internet in years - Juno SpeedBand!
> > Surf the web up to FIVE TIMES FASTER!
> > Only $14.95/ month - visit www.juno.com to sign up today!
> > _______________________________________________
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> > http://mail.indra.com/mailman/listinfo/h-costume
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> >
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Subject: [h-cost] The "Flat Cap" inquiry revisited
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Hi, All. I haven't had the opportunity to work with "period" woolen 
knits, but in my family, I am the blocker and felter for the knitted 
bonnets (flat caps) that my wife makes (of various breeds of sheep's 
wool, including Merino and Border-Leicester). She has done a number of 
them, working from both the material printed in the archaeological 
reports available and her own conjectural patterns. So far, I have not 
been able to create, in the woolen knits that I have worked with, a 
crease of such sharpness as that illustrated in the engraving of Bruegel 
the Elder. I have no doubt, though, that with the correct pressure and 
sizing, such an effect could be created, not only in knit materials, but 
most probably in actual laid felt, another aspect that has not yet been 
explored. There are, existing, a number of laid felt items from around 
this period, unfortunately not in this particular form (Dunleavy shows a 
few from Ireland, pg. 64 illo 48, Chap.3 "The Sixteenth Century", shaped 
more like modern Stetson blanks), some with fairly hefty creasing, 
though who knows how they were treated after being removed from the 
ground. I have a modern "French" style beret which, over the years of 
wear, has developed a rather sharp crease in places, and I had a beret 
in the military that was able to be creased to a fare-thee-well. It is 
possible, then, that these illos are of laid felt construction (just to 
add another concept into the already overburdened discussion)  Cheers, 
Mike T.  PS, I'm still looking for illos of women wearing any sort of 
flat cap (my wife is guilty of this crime, too, so it is of interest to 
me...)  MJT



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Subject: Re: [h-cost] Some News
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And yet, he still wants to work on stage... How very cool is that? 
Penny, please tell your boy that he kicks A**. Congrats to him, and to 
you for being a great Mom and helping lift him up. Yours, Mike T.

>
>Patrick was a very sickly child when little with asthma... still has it.
>Then he had learning disabilities from lead poisoning in our house's paint.
>He has overcome a lot to earn such a high award.
>
>  
>


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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: proclamations regarding caps, was: Re: 16th C hats
Date: Sat, 6 Sep 2003 06:58:46 -0700
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Kat wrote:
>
> It sure shows how many problems they had getting sumptuary laws to
> work! And they were a wordy bunch. It's hard to find the actual
> information amongst all the flowery language. They are worse than
> modern laws and lawyer talk!


It's hard not only to find the actual information amongst the flowery
language but it's also very difficult to find out what the motives behind
the rules are because of all the bullshit.  While all the proclamations
appear to be enacted for the public good, additional readings concerning
economics of the period make it quite clear that most of rules were made to
benefit special interest groups and/or to preserve monopolies granted to
those in the King/Queen's favour.

In time I'll be adding a bit of commentary to the page but it's been a
worthwhile endeavor just typing them out. Sometimes  these proclamations
have an almost Monty Phyton sort of humour about them, especially the starch
licensing proclamations where they talk about agents, and agents of such
agents, and agents of the agents of such agents. etc....

And then there's the wool regulations.  It's easy to start seeing a patterns
and story in these.  There's a whole series attempting to make long and
short cloths a standard size.  First there is a regulation that as of xyz
date all cloths must be this length, or there's the punishment.  Clearly
cloth manufacturers came up with the agruement that they could not adjust
their equipment in time to make cloths of that size.  Then comes the
proclamation where, of "we really don't believe that you don't have the time
to fix your equipment, but here is you extension anyway"  and this happens
again and again.

The whole story develops when you start to read these in chronological order
and you can begin to see all the devious ways and means that 16th century
scammers went about inflating wool prices, most notably, sheep were not
shorn after being washed so the wool was clean, but left to get sweaty and
dirty to thus increase the weight of the wool and the attempts the
government had at trying to pull this behavior into line to preserve the
reputation of the English woolen industry.

I agree though, these writers took about three pages convoluted expressions
to convey something that really only needed one or two paragraphs.

Lisa.




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From h-costume-bounces@indra.com  Sat Sep  6 10:38:43 2003
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> > In the quote from the statute that I've read it says "...one cap of
> > wool knit, thicked and dressed in England, upon the forfeiture of
> > 3s. 4d." And that women "...were constrained to wear white knit caps
> > of woollen yarn, uless their husbands were of good value in the
> > Queen's book, or could prove themselves gentlemen by descent..."
> >
> 
> This is obviously a different statute that I haven't come across, no
> doubt there are many more, do you have an exact date for this one?

This is from the 1571 Statute. Probably the latter part of 13 
Elizabeth, Chapter 19. More exact than that I don't know.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] [Fwd: Tudor rings]
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  Hi,

I've got this interesting question from someone, but I don't know the 
answer.
Does enyone has an idea?

Why did the Tudors wear rings everywhere EXCEPT on the middle fingers?  I 
first thought that Elizabeth I may have had arthritis in that finger, but 
then I saw in portraits that her parents and ancestors also never had rings 
on that finger.

Greetings,
	Deredere



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Subject: Re: [h-cost] Re: proclamations regarding caps, was: Re: 16th C hats
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Hi, All. The belowmentioned underhanded tricks are amply mentioned in 
the facsimile book that I just picked up, entitled "A Declaration of the 
Estate of Clothing" by John May, dated 1613. The book is full of the 
technical language of cloth production, with terms such as Alneger, 
forels, Lancashire Plaines, Devonshire kersies, pitch in the loome, 
Northern Dozens, and other such items. There is a section on dying in 
which it is implied that many colors cannot be truly gotten without an 
underdying of woad. All in all, an interesting book. Cheers, Mike T.

>
>The whole story develops when you start to read these in chronological order
>and you can begin to see all the devious ways and means that 16th century
>scammers went about inflating wool prices, most notably, sheep were not
>shorn after being washed so the wool was clean, but left to get sweaty and
>dirty to thus increase the weight of the wool and the attempts the
>government had at trying to pull this behavior into line to preserve the
>reputation of the English woolen industry.
>
>  
>


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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: proclamations regarding caps, was: Re: 16th C hats
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I printed out a copy of this from EEBO--fascinating stuff. I found several
proclamations relating to the textile industries on Early English Books
Online, if you can get to it.

Drea

On Sat, 6 Sep 2003, michael tartaglio wrote:

>
> Hi, All. The belowmentioned underhanded tricks are amply mentioned in
> the facsimile book that I just picked up, entitled "A Declaration of the
> Estate of Clothing" by John May, dated 1613. The book is full of the
> technical language of cloth production, with terms such as Alneger,
> forels, Lancashire Plaines, Devonshire kersies, pitch in the loome,
> Northern Dozens, and other such items. There is a section on dying in
> which it is implied that many colors cannot be truly gotten without an
> underdying of woad. All in all, an interesting book. Cheers, Mike T.
>
> >
> >The whole story develops when you start to read these in chronological order
> >and you can begin to see all the devious ways and means that 16th century
> >scammers went about inflating wool prices, most notably, sheep were not
> >shorn after being washed so the wool was clean, but left to get sweaty and
> >dirty to thus increase the weight of the wool and the attempts the
> >government had at trying to pull this behavior into line to preserve the
> >reputation of the English woolen industry.
> >
> >
> >
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20030906233948.B61534-100000@shell.siscom.net>
Subject: Re: [h-cost] Re: proclamations regarding caps, was: Re: 16th C hats
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Things must come in threes, because last week I ordered a second hand copy
of this book and am awaiting its delivery as I type.  Good to know its of
some value.  I found in the bibliography of an article on lead seals by
David Egan. The reprint is from the 70's and not all that pricey either.
Did you find the statute about knitted hats by chance?  And could you tell
me a bit more about Early English Books Online.  I assume it is a
subscription only service?  What sort of institutions are likely to have
access to it?

Thanks

Lisa

----- Original Message -----
From: "Drea Leed" <drea@nospam>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 06, 2003 8:41 PM
Subject: Re: [h-cost] Re: proclamations regarding caps, was: Re: 16th C hats


> I printed out a copy of this from EEBO--fascinating stuff. I found several
> proclamations relating to the textile industries on Early English Books
> Online, if you can get to it.
>
> Drea
>
> On Sat, 6 Sep 2003, michael tartaglio wrote:
>
> >
> > Hi, All. The belowmentioned underhanded tricks are amply mentioned in
> > the facsimile book that I just picked up, entitled "A Declaration of the
> > Estate of Clothing" by John May, dated 1613. The book is full of the
> > technical language of cloth production, with terms such as Alneger,
> > forels, Lancashire Plaines, Devonshire kersies, pitch in the loome,
> > Northern Dozens, and other such items. There is a section on dying in
> > which it is implied that many colors cannot be truly gotten without an
> > underdying of woad. All in all, an interesting book. Cheers, Mike T.
> >
> > >
> > >The whole story develops when you start to read these in chronological
order
> > >and you can begin to see all the devious ways and means that 16th
century
> > >scammers went about inflating wool prices, most notably, sheep were not
> > >shorn after being washed so the wool was clean, but left to get sweaty
and
> > >dirty to thus increase the weight of the wool and the attempts the
> > >government had at trying to pull this behavior into line to preserve
the
> > >reputation of the English woolen industry.
> > >
> > >
> > >
> >
> >
> > _______________________________________________
> > 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] Tudor "false undersleeves" attachment?
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Any speculation on how these stayed up? Do we think they were attached to 
the main sleeves and hidden by the turnbacks? Did they stay in place by 
virtue of the wearer not moving at all? Are the exaggerated undersleeves in 
royal portraits done of stiffer fabrics than the undersleeves of persons of 
lesser social stature?

And are they "false" because they didn't go up all the way, "false" because 
they were separate from the main garment, "false" because they were not 
part of the kirtle/underdress????



Brenda, who has scant days to finish at least one Tudor...
webwarren@earthlink.net


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Brenda wrote:
> Any speculation on how these stayed up? Do we think they were attached 
> to the main sleeves and hidden by the turnbacks? Did they stay in place 
> by virtue of the wearer not moving at all? Are the exaggerated 
> undersleeves in royal portraits done of stiffer fabrics than the 
> undersleeves of persons of lesser social stature?
> 
> And are they "false" because they didn't go up all the way, "false" 
> because they were separate from the main garment, "false" because they 
> were not part of the kirtle/underdress????

I'm replying not because I necessarily have an answer to your question, 
but because I'm wondering where the question came from.  Did you read 
the words "false undersleeves" somewhere?  If so, where?

Thanks,
Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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 I know that in the 1860's, women wore false sleeves so they could have big puffy forearms but still have tight armoles. The separate sleeve would fasten just above the elbow either with buttons or with the new elastics. The other advantage was that the sleeves could be washed with ease after dipping them in pudding the night before. (As I've learned from experience) This of course could have nothing in common with the Tudor style but it makes sense that the same problem would have a similar solution. Cheers,Emmawww.hecate.ca/emma/--- On Sun 09/07, Brenda &lt; webwarren@earthlink.net &gt; wrote:From: Brenda [mailto: webwarren@earthlink.net]To: h-costume@indra.com, ElizabethanClothing@yahoogroups.com, SCA-garb@yahoogroups.comDate: Sun, 07 Sep 2003 09:13:07 -0400Subject: [h-cost] Tudor "false undersleeves" attachment?Any speculation on how these stayed up? Do we think they were attached to the main sleeves and hidden by the turnbacks? Did they stay in place by virtue of the we!
 arer not moving at all? Are the exaggerated undersleeves in royal portraits done of stiffer fabrics than the undersleeves of persons of lesser social stature?And are they "false" because they didn't go up all the way, "false" because they were separate from the main garment, "false" because they were not part of the kirtle/underdress????Brenda, who has scant days to finish at least one Tudor...webwarren@earthlink.net_______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume

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> Why did the Tudors wear rings everywhere EXCEPT on the middle fingers?
>  I first thought that Elizabeth I may have had arthritis in that
> finger, but then I saw in portraits that her parents and ancestors
> also never had rings on that finger.

I've been trying to figure this one out too. However, it's not just 
the Tudors who didn't wear them on the middle finger. It's *really* 
rare to find *any* time period where they wore them on the middle 
finger. I think I've seen maybe two paintings total (and I think they 
were both German. I know one of them was. Cole, do you remember where 
you found them?)

I haven't seen any discussions in letters or literature about why 
they didn't. And I've looked (as well as having other people look).

For years I've challenged many people to see if they can find 
pictures of pre-17th C European people wearing them on the middle 
finger. Only Cole Ricci has found even one (and she found them both, 
in my library of all places.) Everyone else goes to the picture they 
thought had it, and it turns out to be on a different finger!

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Sun Sep  7 13:41:21 2003
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Date: Sun, 07 Sep 2003 07:39:38 -1000 (HST)
From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] [Fwd: Tudor rings]
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> I've been trying to figure this one out too. However, it's not just
> the Tudors who didn't wear them on the middle finger. It's *really*
> rare to find *any* time period where they wore them on the middle
> finger. I think I've seen maybe two paintings total (and I think they
> were both German. I know one of them was.

	I've heard some "urban legend" type explanations but none that
were backed by solid research.  I always keep an eye out for middle
finger pictures and in several years have only found three.

Madonna and Child with Saints, Lorenzo Lotto, 1538 in the Uffizi.  The
Madonna is wearing a narrow band with a single stone on the middle finger
of her left hand.  No other rings.

Portrait of Margrave George the Devout of Brandenburg-Ansbach, Lucas
Cranach, 1529.  Signet ring on middle finger of left hand; other rings on
index finger and pinky of same hand.

Portrait of the Elector Joachim I of Brandenburg, Lucas Cranach, 1529.
Ring with stone on middle finger of left hand; another ring on ring finger
of right hand.

	Another research project for some future decade...

--annora

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From h-costume-bounces@indra.com  Sun Sep  7 14:16:08 2003
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] [Fwd: Tudor rings]
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I remember reading somewhere that it was thought unlucky to wear a ring 
on the middle finger.  I know wedding rings are worn on the fourth 
because it was thought a vein led directly from there to the heart. 
Maybe the vein to the middle finger went to the gall bladder or 
something? ;-)

Jean

kat@grendal.rain.com wrote
>
>> Why did the Tudors wear rings everywhere EXCEPT on the middle fingers?
>>  I first thought that Elizabeth I may have had arthritis in that
>> finger, but then I saw in portraits that her parents and ancestors
>> also never had rings on that finger.
>
>I've been trying to figure this one out too. However, it's not just
>the Tudors who didn't wear them on the middle finger. It's *really*
>rare to find *any* time period where they wore them on the middle
>finger. I think I've seen maybe two paintings total (and I think they
>were both German. I know one of them was. Cole, do you remember where
>you found them?)
>
>I haven't seen any discussions in letters or literature about why
>they didn't. And I've looked (as well as having other people look).
>
>For years I've challenged many people to see if they can find
>pictures of pre-17th C European people wearing them on the middle
>finger. Only Cole Ricci has found even one (and she found them both,
>in my library of all places.) Everyone else goes to the picture they
>thought had it, and it turns out to be on a different finger!
>
>Kat
><kat@redtrollforge.com>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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To: h-costume@indra.com
From: Brenda <webwarren@earthlink.net>
Subject: Re:  Re: [h-cost] Tudor "false undersleeves" attachment? 
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Melanie Schuessler <melanie@faucet.net> wrote:

>I'm replying not because I necessarily have an answer to your question, 
>but because I'm wondering where the question came from. Did you read the 
>words "false undersleeves" somewhere? If so, where?

I'm sure I read it *somewhere*, but as to *where* and its reliability as a 
source... I couldn't tell you, except that I *probably* read it online 
somewhere, on someone's costuming or research site. Less-likely, but also 
possible, would be hardcopy of either Norris or Köhler.

Actually, Norris uses the term "false sleeves" and on pp. 220-221 notes:

         "...The under-sleeve is considerably more bulky and decorated
         with cuttes. This particular under-sleeve is a separate article
         of dress -- a FALSE SLEEVE -- which extended only to the
         elbow, where it was buttoned or tied round the arm..."

I'm not sure if this is the first place I saw ther term used, though... 
(and Köhler does not mention this style at all)...



Brenda
webwarren@earthlink.net



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From: Cynthia J Ley <cley@juno.com>
cc: Cley@juno.com
Subject: [h-cost] wifeliness
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Greetings everyone. I realize this isn't exactly the ideal venue for this
thing, but thought you'ld get a kick out of it. 

The set-up: actual article from a magazine called "Housekeeping Monthly,"
dated 13 May 1955. Has a large illustration of a man in a suit walking
into the kitchen with a newspaper folded under his arm, his two adoring
children by his side, and his immaculate wife in her immaculate kitchen
cooking a no-doubt immaculate dinner wearing an immaculate smile, and
looking pretty enough to go out on the town in her two-inch high heels.
(There ya go! Obligatory costume content. ;))

You might want to clear your desk of all things hazardous to your
computer. Food and beverage warnings apply. ;)

Arlys

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


THE GOOD WIFE'S GUIDE:

-Have dinner ready. Plan ahead, even the night before, to have a
delicious meal ready, on time for his return. This is a way of letting
him know that you have been thinking about him and are concerned about
his needs. Most men are hungry when they come home and the prospect of a
good meal (especially his favorite dish) is part of the warm welcome
needed.

-Prepare yourself. Take 15 minutes to rest so you'll be refreshed when he
arrives. Touch up you make-up, put a ribbon in your hair and be fresh
looking. he has just been with a lot of work-weary people.

-Be a little gay and a little more interesting for him. His boring day
may need a lift and one of your duties is to provide it.

-Clear away the clutter. Make one last trip through the main part of the
house just before your husband arrives.

-gather up schoolbooks, toys, paper etc and then run a dustcloth over the
tables.

-Over the cooler months of the year you should prepare and light a fire
for him to unwind by. Your husband will feel he has reached a haven of
rest and order, and it will give him a lift too. After all, catering for
his comfort will provide you with immense persoanl satisfaction.

-Prepare the children. take a few mintues to wash the children's hands
and faces (if they are small), comb their hair and, if necessary, change
their clothes. They are little treasures and he would like to see them
playing the part. At the time of his arrival, eliminate all noise of the
washer, dryer, or vacuum. try to encourage the children to be quiet.

-Be happy to see him.

-Greet him with a warm smile and show sincerity in your desire to please
him.

-Listen to him. You may have a dozen important things to tell him, but
the moment of his arrival is not the time. Let him talk
first--remember--his topics of converstaion are more important than
yours.

-Make the evening his. Never complain if he comes home later or goes outt
o dinner, or goes out to other places of entertainment without you.
Instead, try to understand his world of strain and pressure and his very
real need to be home and relax.

-Your goal: Try to make sure your home is a place of peace, order and
tranquility where your husband can renew himself in body and spirit.

-Don't greet him with complaints and problems.

-Don't complain if he's late for dinner or even if he stays out all
night. Count this as minor compared to what he might have gone through
that day.

-Make him comfortable. Have him lean back in a comfortable chair or have
him lie down in the bedroom. Have a cool or warm drink ready for him.

-Arrange his pillow and offer to take off his shoes. Speak in a low,
soothing and pleasant voice.

-Don't ask him questions about his actions or question his judgement or
integrity. Remember, he is the master of the house and as such will
always exercise his will with fairness and truthfulness. You have no
right to question him.

-A good wife always knows her place.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

________________________________________________________________
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From: Cynthia Virtue <cvirtue+dated+1078534337.26af8a@thibault.org>
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Check out http://www.snopes.com/language/document/goodwife.htm for their 
attempts to verify this piece.  They haven't been able to document it 
yet, though that doesn't mean it's not documentable. They do have a 
picture of the (taken from another source) illustration mentioned.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: [h-cost] Attention Margo
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Margo,

Can you please contact me off-list.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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>> Melanie Schuessler <melanie@faucet.net> wrote:
>>
>> Did you read the words "false undersleeves" somewhere? If so, where?

Brenda wrote:
 >
> I'm sure I read it *somewhere*, but as to *where* and its reliability as 
> a source... I couldn't tell you, except that I *probably* read it online 
> somewhere, on someone's costuming or research site. Less-likely, but 
> also possible, would be hardcopy of either Norris or Köhler.
> 
> Actually, Norris uses the term "false sleeves" and on pp. 220-221 notes:
> 
>         "...The under-sleeve is considerably more bulky and decorated
>         with cuttes. This particular under-sleeve is a separate article
>         of dress -- a FALSE SLEEVE -- which extended only to the
>         elbow, where it was buttoned or tied round the arm..."

If you think you read it online, you might try searching the phrase in 
quotes in Google, then if you find it, checking what the website 
author's source was.  If it was Norris or Kohler, you can probably 
safely ignore it unless someone else has some evidence for this.  I have 
found both unreliable for construction information, and Norris is 
particularly notorious for making things up with no evidence to back up 
his statements.

I recently found yet another example of this, where not only did he 
conjure a drawing of an outfit worn by Queen Elizabeth from a rather 
short description, he also added things into the description that were 
not there in the source.  (He didn't note the source, of course, but I 
happened to run across it in my research.)  The picture in question is 
Fig. 576 in my edition of Tudor Costume and Fashion.

I am interested in some of the drawings he says are taken from funeral 
brasses--one of them (fig. 533) looks like the brass was the same 
pattern as Jane Ingleton (fig. 53 in Ashelford's Visual History of 
Costume:  The Sixteenth Century), but he's changed the proportion of the 
short puffed sleeves and added a sweet little bow to the top of the 
French hood as well as omitting the hanging sleeves.  He's a great one 
for editing, is Norris.  I don't trust him an inch.

That's all on the negative side, of course.  On the positive side, I 
have only one helpful thing to offer (as unfortunately this is not my 
primary period of study).  An inventory of the Lisles' household goods, 
probably made in 1542 upon Arthur Lisle's death (though of this I am not 
certain) lists many pairs of sleeves as separate items, such as

Item xviij payer of Aglettes of gold upon ij payer of Sleves of clothe 
of gold
Item viijC [800!] pearles upon a payre of Slevys of Crymsyn Sattyn
Item liiij peces of gold goldsmythes worke upon a payre of Slevys of 
blewe velvet
Item ij payer of slevys of tawney velvet
Item a payer of Slevis of Crymsen velvet enbrodryd
etc., etc.

The inventory is in volume six of The Lisle Letters (not the abridged 
version!) edited by Muriel St. Clare Byrne, in appendix E.

What I gather from this is that the sleeves are detachable.  How and 
where they are attached is not clear from this particular set of data, 
but perhaps someone else has found a reference.  If I had to guess, I 
would guess they are attached to the kirtle that is worn under the gown 
in the same way that the kirtle sleeves are attached in a much later 
example (page 109 of Arnold's Patterns of Fashion), but that's not 
research--just guesswork.

Best of luck,
Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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As I'm still learning about Tudor dress myself, I can't answer for all 
cases, however...

The gentlewomen of the "household" that is the living history 
re-enactment group at the Maryland Renaissance Festival have removable 
under/fore/false sleeves.  The material on one set is stiffer, the other 
is probably not as stiff as a decent wool would be, though more than my 
linen dress.

There are 3 ties on theirs (though at a guess there are likely other 
ways to make them).  All tie only to each other... one at the wrist, one 
below and one above the elbow.  Part of what holds them up is friction 
against the chemise/smock.  Part is the ties and fabric itself (though 
they do slide a bit, time to time).  If you aren't doing anything 
strenuous in them, they'll stay put easily.  Our ladies tend to wear 
them only when it gets cooler/cold,  and/or when demonstrating "what is 
worn under all that".

One of the reasons for the tie-on/removable sleeves is that the cut of 
the attatched sleeves of the overdress is snug enough that it would be 
impossible to get that much of the heavier and more ornate fabric that 
the sleeves are made of through the arms' top.

At a guess, I'd suppose you could put a loop into the arm to tie to, or 
pin it in if the above didn't work though.

-Elisabeth  (waiting for a more definative answer, but here's a start...)

>From: Brenda <webwarren@earthlink.net>
>
>
>Any speculation on how these stayed up? Do we think they were attached to 
>the main sleeves and hidden by the turnbacks? Did they stay in place by 
>virtue of the wearer not moving at all? Are the exaggerated undersleeves in royal portraits done of stiffer fabrics than the undersleeves of persons of lesser social stature?
>
>And are they "false" because they didn't go up all the way, "false" because they were separate from the main garment, "false" because they were not part of the kirtle/underdress????
>
>
>
>Brenda, who has scant days to finish at least one Tudor...
>webwarren@earthlink.net
>
>  
>


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I wrote:
> 
> If I had to guess, I
> would guess they are attached to the kirtle that is worn under the gown 
> in the same way that the kirtle sleeves are attached in a much later 
> example (page 109 of Arnold's Patterns of Fashion), but that's not 
> research--just guesswork.

Cozit / Liz wrote:
 >
 > One of the reasons for the tie-on/removable sleeves is that the cut of
 > the attatched sleeves of the overdress is snug enough that it would be
 > impossible to get that much of the heavier and more ornate fabric that
 > the sleeves are made of through the arms' top.

Hypothesizing again here:  you could make the undersleeves such that the 
lower portion was made of ornate/heavy fabric and the upper portion was 
made from something much lighter and thinner, fitted to the arm so as 
not to create bulk under the gown sleeves.

Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Attention Penny Ladnier 
Date: Sun, 7 Sep 2003 23:40:25 -0400
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Penny, can you please  contact me?  I signed up for your underpinnings class
(obligatory costume content) on the website Friday night, and have not
gotten a confirmation or request for payment yet.  I thought the
registration form was working, but I wonder if it is still not, also email
to Stephen Bergdahl bounced.  Sorry to post on an open forum, but I thought
maybe your email was messed up too. Since the class starts on Monday, which
is in 20 minutes, I figured I'd better try to contact you.
Thanks,
-Megan


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Date: Sun, 7 Sep 2003 20:52:18 -0700
Subject: Re: [h-cost] wifeliness - May be a hoax
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All I know is that someone found it and stuck it on the bulletin board
where my husband works. In any case, it's a howl.

Arlys

On Sun, 07 Sep 2003 20:47:11 -0400 Cynthia Virtue
<cvirtue+dated+1078534337.26af8a@thibault.org> writes:
> Check out http://www.snopes.com/language/document/goodwife.htm for 
> their 
> attempts to verify this piece.  They haven't been able to document 
> it 
> yet, though that doesn't mean it's not documentable. They do have a 
> picture of the (taken from another source) illustration mentioned.
> 
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20030907.205525.1400.1.Cley@juno.com>
Subject: Re: [h-cost] wifeliness - May be a hoax
Date: Sun, 7 Sep 2003 21:13:43 -0700
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Acutally, it sounds like they got it from the I Love Lucy Episode where Desi
is ignoring Lucy so Ethel suggests she read the newly published marriage
advice manual that's just arrived in the book of the month club on how to
get the honeymoon back.  Very, Very similar advice in that book, and of
course you can image what happed when Lucy tried to follow it!!!

Lisa Sinervo
www.ThrednedleStrete.com

----- Original Message -----
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Sent: Sunday, September 07, 2003 8:52 PM
Subject: Re: [h-cost] wifeliness - May be a hoax


> All I know is that someone found it and stuck it on the bulletin board
> where my husband works. In any case, it's a howl.
>
> Arlys
>
> On Sun, 07 Sep 2003 20:47:11 -0400 Cynthia Virtue
> <cvirtue+dated+1078534337.26af8a@thibault.org> writes:
> > Check out http://www.snopes.com/language/document/goodwife.htm for
> > their
> > attempts to verify this piece.  They haven't been able to document
> > it
> > yet, though that doesn't mean it's not documentable. They do have a
> > picture of the (taken from another source) illustration mentioned.
> >
> > --
> > Cynthia Virtue and/or
> > Cynthia du Pré Argent
> > _______________________________________________
> > 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] Tudor "false undersleeves" attachment?
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> Hypothesizing again here:  you could make the undersleeves such that the
> lower portion was made of ornate/heavy fabric and the upper portion was
> made from something much lighter and thinner, fitted to the arm so as
> not to create bulk under the gown sleeves.


That doesn't help getting it the through the outer gown sleeve though does
it;)

I'm sure Jean Hunnisett used the false sleeve theory for her constuction
(for stage and screen as it is the shapes are really nice)

michaela
http://costumes.glittersweet.com


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From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] Tudor "false undersleeves" attachment?
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At 11:00 PM 9/7/2003 -0500, you wrote:
>I wrote:
>>If I had to guess, I
>>would guess they are attached to the kirtle that is worn under the gown 
>>in the same way that the kirtle sleeves are attached in a much later 
>>example (page 109 of Arnold's Patterns of Fashion), but that's not 
>>research--just guesswork.
>
>Cozit / Liz wrote:
> >
> > One of the reasons for the tie-on/removable sleeves is that the cut of
> > the attatched sleeves of the overdress is snug enough that it would be
> > impossible to get that much of the heavier and more ornate fabric that
> > the sleeves are made of through the arms' top.
>
>Hypothesizing again here:  you could make the undersleeves such that the 
>lower portion was made of ornate/heavy fabric and the upper portion was 
>made from something much lighter and thinner, fitted to the arm so as not 
>to create bulk under the gown sleeves.
>
>Melanie Schuessler

Hey Mel et al,

Well, I have 10 references to "foresleeves" in the 16th century wills I 
work with.
3 pair were willed by Elizabethe Barton in 1543
4 pair were willed by Katheren Bracye in 1543
2 pair were willed by Joone Wharnebe in 1543
and "a payr of fore sclevys of Flaunderes makyng" willed by George Symonde 
in 1544.

Does this help the sleeve debate?

Cheers,
Danielle who is way behind on her email as usual...

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Subject: [h-cost] 18th c.-ish print fabric at JoAnn's
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Amazingly enough, I actually found something interesting at my local JoAnn's today!

They had a (relatively) big section of cotton prints they were calling either vegetable prints or vegetable dyes (can't remember which).  They are very Indian-esque cotton prints done in vegetable dyes, and they look surprising like some 18th century prints I've found, both in terms of motif and color scheme.

I'm not sure if your local store will have them, as the saleswoman said they've had them at my store for about 5 months and they haven't sold well (they were on sale at my store for $4/yd).  But keep your eye out next time you're there (or call first)!

- Kendra
http://demode.tweedlebop.com
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To: "Historical Costume" <h-costume@indra.com>
References: <5.1.0.14.0.20030907090941.038cdec8@mail.earthlink.net>
Subject: Re: [h-cost] Tudor "false undersleeves" attachment?
Date: Mon, 8 Sep 2003 20:44:23 +1000
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----- Original Message ----- 
From: "Brenda" <webwarren@earthlink.net>
To: <h-costume@indra.com>; <ElizabethanClothing@yahoogroups.com>;
<SCA-garb@yahoogroups.com>
Sent: Sunday, September 07, 2003 11:13 PM
Subject: [h-cost] Tudor "false undersleeves" attachment?


> Any speculation on how these stayed up? Do we think they were attached to
> the main sleeves and hidden by the turnbacks? Did they stay in place by
> virtue of the wearer not moving at all? Are the exaggerated undersleeves
in
> royal portraits done of stiffer fabrics than the undersleeves of persons
of
> lesser social stature?
>
>
>From experience, if the false sleeves fit closely enough about the wrist
and are made of stiff enough materials, they don't need to be attached
to anything to stay up.
A thing I have noticed about some of the earlier versions of these sleeves
(say on the More family portrait) is that they seem to be made of softer,
plain material with fine pintucks running the length of the sleeve.

Claire

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From: Melanie Schuessler <melanie@faucet.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tudor "false undersleeves" attachment?
References: 
	<5.1.0.14.0.20030907160602.00adf220@mail.earthlink.net><3F5BFBEC.3070005@faucet.net>
	<3F5BFED0.3010608@faucet.net> <005401c375c9$6e008530$15cdadcb@michaela>
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I wrote:

>>Hypothesizing again here:  you could make the undersleeves such that the
>>lower portion was made of ornate/heavy fabric and the upper portion was
>>made from something much lighter and thinner, fitted to the arm so as
>>not to create bulk under the gown sleeves.

michaela wrote:

> That doesn't help getting it the through the outer gown sleeve though does
> it;)

Well, it depends on how skin-tight you make the gown sleeve and how 
fitted you make the upper part of the undersleeve.  It also helps if the 
gown sleeve is lined in some slippery silk.

Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University


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To: "Brenda" <h-costume@indra.com>
From: Teena Kessinger  <bkessinger@ureach.com>
Subject: Re: [h-cost] Tudor "false undersleeves" attachment?
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Mine have two ties at the back edge (the part which doesn't
show. I tie those to close the opening and the sleeves just stay
up on their own. The wrist opening is somewhat snug on my wrist
too, which helps. I have no trouble at all with them and do not
pin or anything else.

Juliane





---- On Sun, 07 Sep 2003, Brenda (webwarren@earthlink.net)
wrote:

> Any speculation on how these stayed up? Do we think they were
attached to 
> the main sleeves and hidden by the turnbacks? Did they stay in
place by 
> virtue of the wearer not moving at all? Are the exaggerated
undersleeves in 
> royal portraits done of stiffer fabrics than the undersleeves
of persons of 
> lesser social stature?
> 
> And are they "false" because they didn't go up all the way,
"false" because 
> they were separate from the main garment, "false" because they
were not 
> part of the kirtle/underdress????
> 
> 
> 
> Brenda, who has scant days to finish at least one Tudor...
> webwarren@earthlink.net
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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From: "Sarah Jane Edwards" <1warcry@mtco.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20030907.132915.1652.0.Cley@juno.com>
Subject: Re: [h-cost] wifeliness
Date: Mon, 8 Sep 2003 09:04:39 -0500
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I don't know if it is a hoax or not, but it's a sweet list. I'm going to
print it out and keep it so I can treat my husband like a king when I do get
married. :)

  ~Sarah

----- Original Message -----
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Cc: <Cley@juno.com>
Sent: Sunday, September 07, 2003 3:29 PM
Subject: [h-cost] wifeliness


> Greetings everyone. I realize this isn't exactly the ideal venue for this
> thing, but thought you'ld get a kick out of it.
>
> The set-up: actual article from a magazine called "Housekeeping Monthly,"
> dated 13 May 1955. Has a large illustration of a man in a suit walking
> into the kitchen with a newspaper folded under his arm, his two adoring
> children by his side, and his immaculate wife in her immaculate kitchen
> cooking a no-doubt immaculate dinner wearing an immaculate smile, and
> looking pretty enough to go out on the town in her two-inch high heels.
> (There ya go! Obligatory costume content. ;))
>
> You might want to clear your desk of all things hazardous to your
> computer. Food and beverage warnings apply. ;)
>
> Arlys
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
>
> THE GOOD WIFE'S GUIDE:
>
> -Have dinner ready. Plan ahead, even the night before, to have a
> delicious meal ready, on time for his return. This is a way of letting
> him know that you have been thinking about him and are concerned about
> his needs. Most men are hungry when they come home and the prospect of a
> good meal (especially his favorite dish) is part of the warm welcome
> needed.
>
> -Prepare yourself. Take 15 minutes to rest so you'll be refreshed when he
> arrives. Touch up you make-up, put a ribbon in your hair and be fresh
> looking. he has just been with a lot of work-weary people.
>
> -Be a little gay and a little more interesting for him. His boring day
> may need a lift and one of your duties is to provide it.
>
> -Clear away the clutter. Make one last trip through the main part of the
> house just before your husband arrives.
>
> -gather up schoolbooks, toys, paper etc and then run a dustcloth over the
> tables.
>
> -Over the cooler months of the year you should prepare and light a fire
> for him to unwind by. Your husband will feel he has reached a haven of
> rest and order, and it will give him a lift too. After all, catering for
> his comfort will provide you with immense persoanl satisfaction.
>
> -Prepare the children. take a few mintues to wash the children's hands
> and faces (if they are small), comb their hair and, if necessary, change
> their clothes. They are little treasures and he would like to see them
> playing the part. At the time of his arrival, eliminate all noise of the
> washer, dryer, or vacuum. try to encourage the children to be quiet.
>
> -Be happy to see him.
>
> -Greet him with a warm smile and show sincerity in your desire to please
> him.
>
> -Listen to him. You may have a dozen important things to tell him, but
> the moment of his arrival is not the time. Let him talk
> first--remember--his topics of converstaion are more important than
> yours.
>
> -Make the evening his. Never complain if he comes home later or goes outt
> o dinner, or goes out to other places of entertainment without you.
> Instead, try to understand his world of strain and pressure and his very
> real need to be home and relax.
>
> -Your goal: Try to make sure your home is a place of peace, order and
> tranquility where your husband can renew himself in body and spirit.
>
> -Don't greet him with complaints and problems.
>
> -Don't complain if he's late for dinner or even if he stays out all
> night. Count this as minor compared to what he might have gone through
> that day.
>
> -Make him comfortable. Have him lean back in a comfortable chair or have
> him lie down in the bedroom. Have a cool or warm drink ready for him.
>
> -Arrange his pillow and offer to take off his shoes. Speak in a low,
> soothing and pleasant voice.
>
> -Don't ask him questions about his actions or question his judgement or
> integrity. Remember, he is the master of the house and as such will
> always exercise his will with fairness and truthfulness. You have no
> right to question him.
>
> -A good wife always knows her place.
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
> Surf the web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
> _______________________________________________
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>

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Date: Mon, 8 Sep 2003 15:05:51 +0100 (BST)
From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Tudor "false undersleeves" attachment?
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 Marian:     "You are not well, I promise you, Your
forsleeves are not pind (fie, fie) And all your
hed-geere stands awry. Give me the flowers. Goe in for
shame, And quickly see you mend the same."

------- This looks like the forsleeves were a seperate
detachable item probably pinned to the inside of the
oversleeve.-------------------------

Quote from 'The Downfall of Robert, Earle of
Huntington', Afterward called 'Robin Hood of merrie
Sherwodde: with his love to chaste Matilda, the Lord
Fitzwaters Daughter, afterwarde his faire Maide
Marian'. Acted by the Right Honourable the Earle of
Nothingham, Lord high Admirall of England, his
servants. 1601.

Rptd. by Collier, J. P., 1828, and in Hazlitt’s
Dodsley, vol. VIII.

(With Chettle.) The Death of Robert, Earle of
Huntington. Otherwise called Robin Hood of merrie
Sherwodde: with the lamentable Tragedie of chaste
Matilda, his faire maid Marian, poysoned at Dunmowe by
King John. Acted by the Right Honourable the Earle of
Nothingham, Lord high Admirall of England, his
servants. 1601.

Rptd. by Collier, J. P., 1828, and in Hazlitt’s
Dodsley, vol. VIII.

For the sources of these two plays, consult
Ruckdeschel, A., Die Quellen des Dramas The Downfall
and the Death of Robert, Earle of Huntington,
otherwise called Robin Hood, Erlangen, 1897.
	

=====


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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Tudor "false undersleeves" attachment?
To: Historical Costume <h-costume@indra.com>
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I made a pair with a wrist closing that I 'stuffed'
slightly to give them enough body to stay up on their
own. They looked very much like the painting of
Princess Elizabeth when finished.



 --- Teena Kessinger <bkessinger@ureach.com> wrote: >
Mine have two ties at the back edge (the part which
> doesn't
> show. I tie those to close the opening and the
> sleeves just stay
> up on their own. The wrist opening is somewhat snug
> on my wrist
> too, which helps. I have no trouble at all with them
> and do not
> pin or anything else.
> 
> Juliane
> 
>

=====


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Subject: Re: [h-cost] 18th c.-ish print fabric at JoAnn's
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In a message dated 9/8/03 2:14:50 AM Eastern Daylight Time, 
kendra@tweedlebop.com writes:

> They had a (relatively) big section of cotton prints they were calling 
> either vegetable prints or vegetable dyes (can't remember which).  

Funny, I KNEW you'd be talking about these before I read on. They are pretty 
good, I think. Especially the ones that look blockprinted. But these all have 
a 19th century look to me. Some would make a great 1830-50s dress. There are 
some East Indian looking ones that are 18th century-esque, if a little dense 
pattern-wise. I bought some. I planned, in my head, an 1780-90 gown for 
it....middle/uppermiddle class. 

What this line of fabrics does definitely have is character.
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Subject: Re: [h-cost] wifeliness - May be a hoax
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I have a couple of pre 60's household manuals and this is pretty much what
they say

dawn



> Check out http://www.snopes.com/language/document/goodwife.htm for their
> attempts to verify this piece.  They haven't been able to document it
> yet, though that doesn't mean it's not documentable. They do have a
> picture of the (taken from another source) illustration mentioned.
>
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
> _______________________________________________
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Subject: Re: [h-cost] Re: proclamations regarding caps, was: Re: 16th C hats
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> Things must come in threes, because last week I ordered a second hand copy
> of this book and am awaiting its delivery as I type.  Good to know its of
> some value.  I found in the bibliography of an article on lead seals by
> David Egan. The reprint is from the 70's and not all that pricey either.
> Did you find the statute about knitted hats by chance?  And could you tell
> me a bit more about Early English Books Online.  I assume it is a
> subscription only service?  What sort of institutions are likely to have
> access to it?
>

Larger university libraries may have a subscription....EEBO is an online,
searchable database of thousands of pre-18th (?) century printed texts.
You can print out the text, or facsimile images of the pages. The Folger
Library has a subscription, and I had a great time looking through the
scads of books and articles and proclamations they had.

I didn't do any searching for knitted hats, but odds are they do have
stuff about headwear in there as well.

Good luck,

Drea


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----- Original Message -----
From: "Cynthia Virtue" <cvirtue+dated+1078534337.26af8a@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, September 07, 2003 7:47 PM
Subject: Re: [h-cost] wifeliness - May be a hoax


> Check out http://www.snopes.com/language/document/goodwife.htm for their
> attempts to verify this piece.  They haven't been able to document it
> yet, though that doesn't mean it's not documentable. They do have a
> picture of the (taken from another source) illustration mentioned.
>
> --
> Cynthia Virtue and/or
> Cynthia du Pré Argent
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Well, while I haven't seen the original as posted, my Betty Crocker New
Picture Cookbook from 1961 has gems such as "The thoughtful wife has a
simple beverage (cold in summer, hot in winter) ready for her weary husband
when he comes home at night. The simplest are fruit or vegetable juices
served in small fruit juice glasses." And quite a few of the illustrations
are on the theme of husband coming home in a suit and tie with briefcase
while wife is in the kitchen cooking (in sweetheart neckline dress, pearls,
and, well, they don't usually show the feet, but I would have to imagine
they would be perfect 2" pumps ;-) Of course, it *is* a cookbook! :-) So,
while some of the things listed are a little above and beyond...there are
others that were probably very close to being advice of the day.

**********************
Rebecca Schmitt
aka Agnes Cabot, wife of Master Peter Cabot
BRF FOF; Guilde of St. Lawrence

A room without books is like a body without a soul
---Cicero

lotsofteapots@charter.net
**********************

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Date: Mon, 8 Sep 2003 15:27:06 -0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wifeliness - May be a hoax
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     The part that strikes me as ridiculous is that she can take 15 minutes to 
freshen up, while simultaneuously cleaning up the clutter, making the children 
presentable, calming them down, etc.  Even in the idealistic 1950s there was 
logic, and that doesn't fit!

     -Carol

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> I have a couple of pre 60's household manuals and this is pretty much
> what they say

Heavens, this sounds a lot like what even books from the 60s and 
early 70s would sometimes say (although it was no longer mainstream 
by then.)

Just look at books like Fascinating Womanhood and Fascinating 
Girlhood (which were foisted upon me in the late 60s. Somehow I don't 
think I'll ever be a "Dora" type and thankfully my husband wouldn't 
like it if I was!)

Kat
<kat@redtrollforge.com>


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From: Gail & Scott Finke <gailscott@eos.net>
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I'm not going to comment on the whole article -- that would be more trouble
than it's worth -- but I do want to say that my mother, who just turned 70,
remembers her mother and all the women on the block doing their housework in
the morning in housework clothes, putting dinner on, and then changing to
nice dresses and putting on makeup before their husbands came home. The way
she has told me, the women thought of housework as their job, and they did
it like a job, working very hard at it. Then they freshened up and got out
of their "work clothes" to enjoy the rest of the evening with their
husbands. She says that in the summer the women would all come out on their
porches and sit in their dresses. She has never told me about being
freshened up herself! Many days -- including today -- I do housework in old
sweats, but shower and change into better-looking clothes when I'm done.

Gail Finke


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Subject: Re: [h-cost] Tudor 'false undersleeves' attachment?
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> Hey Mel et al,
>
> Well, I have 10 references to "foresleeves" in the 16th century wills I
> work with.
> 3 pair were willed by Elizabethe Barton in 1543
> 4 pair were willed by Katheren Bracye in 1543
> 2 pair were willed by Joone Wharnebe in 1543
> and "a payr of fore sclevys of Flaunderes makyng" willed by George
> Symonde  in 1544.
>
> Does this help the sleeve debate?

When I made my Tudor years ago, I was convinced that they were separate
because at least one source showed the sleeve to have a definite corner
near the bony part of the elbow.  When I made mine, I didn't stuff them
(although I probably should have) and I used three ties that were hidden
on the inside of the bell-shaped oversleeve.  I put the ties only on the
top of the undersleeve near the bend in the elbow.  It worked for movement
and just made more sense.

Hope that helps!

Diana


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Subject: [h-cost] Re: JoAnn's Vegital dyed cloth
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At 10:48 AM -0600 9/8/03, h-costume-request@indra.com wrote:
>Amazingly enough, I actually found something interesting at my local 
>JoAnn's today!
>
>They had a (relatively) big section of cotton prints they were 
>calling either vegetable prints or vegetable dyes (can't remember 
>which).  They are very Indian-esque cotton prints done in vegetable 
>dyes, and they look surprising like some 18th century prints I've 
>found, both in terms of motif and color scheme.
>
>I'm not sure if your local store will have them, as the saleswoman 
>said they've had them at my store for about 5 months and they 
>haven't sold well (they were on sale at my store for $4/yd).  But 
>keep your eye

Well in the store in Belair, MD they have sold rather well <VBG>, and 
not just to me. Now to get the courage up to make the stays so I can 
make the dress ( Stays 4, figure 0)...
Pity they haven't done well, it would be nice to see more of them.
Ta
Carol
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Does anyone on the list have this issue handy?  

I had a lead on a goldwork article with a title something like "Metal Thread Analysis" in this issue that I am trying to track down.  The title of the article is apparently incorrect (according to the ILL librarian), so I'm trying to get the right title. 

I haven't been able to locate an online, accessible index of the articles either, so I'm hoping someone out there can help me out.

Thanks for any help!

Best regards,

Colleen

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Can anyone tell me why "pumps" are called that?

Margo

"One Tough Costumer"

www.margospatterns.com
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Subject: [h-cost] RE: h-costume Digest, fingers and rings
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 I can give a partial answer to this riddle.  It has to do with the
ancient "poetic" meanings of fingers!  The fingers are named fore
finger(for the foremost god of the celtic world), fool's finger (for
Saturn, the Winter soltice fool who is beheaded but rises unharmed),
leach or ring finger, and oracular or ear finger( poet's and bards used
the pinkie to plug their ears when remembering stories or when writing
new verses.  The thumb is the phallus finger, rings of iron were worn on
this finger as a nod to Vulcan, Venus' husband. (Thus when Shakespear
has Romeo and Mecruccio (sorry, shakespear is packed so I'm not getting
this exactly right) in verbal battle with What's his name and one of
them says, "Do you bite your thumb at me Sir?"  "Yes I bite my thumb at
you."  They were being very rude and telling each other to SMD. The four
finger on the left hand was the least used finger and therefore the
safest to wear precious stones on, also it has a small, visible vein
leading to the heart and therefore links Apollo (heart, gold) to that
finger. However to wear a ring on the fool's finger was to indicate hope
of resurection or reincarnation in the ancient world, something that
Christian Europe would have frowned upon, after all they put their hopes
of that in the tithe basket every Sunday.  For more on this subject read
chapter 11 of The White Goddess by Robert Graves.

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Subject: Re: [h-cost] Tudor "false undersleeves" attachment?
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Catalina Sanabria Rosado wrote:
>  Marian:     "You are not well, I promise you, Your
> forsleeves are not pind 
<...>
  Acted by the Right Honourable the Earle of
> Nothingham, Lord high Admirall of England, his
> servants. 1601.

This is a very interesting (and entertaining) quote, but the large Tudor 
undersleeves had been out of style for almost 50 years by 1601--I'm not 
sure that's what the quote is referring to.

Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
Date: Mon, 8 Sep 2003 20:30:52 -0400
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On Monday 08 September 2003 02:30 pm, fastusminimus wrote:
> At 10:48 AM -0600 9/8/03, h-costume-request@indra.com wrote:
> >Amazingly enough, I actually found something interesting at my local
> >JoAnn's today!
> >
> >They had a (relatively) big section of cotton prints they were
> >calling either vegetable prints or vegetable dyes (can't remember
> >which).  

It makes a *big* difference, though!  :-)  I'd bet it was vegetable prints, 
based on what I know of JoAnn's--though I'd like to be wrong on this one!

> > They are very Indian-esque cotton prints done in vegetable
> >dyes, and they look surprising like some 18th century prints I've
> >found, both in terms of motif and color scheme.

That's a good thing, whether we're talking vegetable prints done with 
vegetable dyes or now.

[snip]

-- 
Cathy Raymond <cathy@thyrsus.com>

"There are only two ways of telling the complete truth--anonymously and 
posthumously."   Thomas Sowell
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On Monday 08 September 2003 10:04 am, Sarah Jane Edwards wrote:
> I don't know if it is a hoax or not, but it's a sweet list. I'm going to
> print it out and keep it so I can treat my husband like a king when I do
> get married. :)

Uh, sure.  It's a wonderful goal to try to make a cosy loving home for one's 
spouse (especially if you opt to be a stay-at-home spouse).  Just don't beat 
yourself up if, someday, trying to achieve that objective turns out, for what 
ever reason, to be too great a burden.

Obligatory costume content.  When I was growing up in the 1960's and early 
1970's, my mom mostly wore what was marketed as "Housecoats" or "house 
dresses".  They were cotton coatdresses that buttoned all the way down the 
front, and short-sleeved or sleeveless.  The nicer ones had bust darts and 
were slightly fitted to the body, while the cheaper ones were looser, almost 
like nightrobes (which they could substitute for in a pinch).  

They were almost always done in print fabrics.  Usually, the nicer the dress, 
the more tasteful and subdued the print.

-- 
Cathy Raymond <cathy@thyrsus.com>

"There are only two ways of telling the complete truth--anonymously and 
posthumously."   Thomas Sowell
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From: sewinggoddess@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
Date: Tue, 09 Sep 2003 00:43:48 +0000
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They are vegetable dyes. They do run when washed.  

Crissy

> On Monday 08 September 2003 02:30 pm, fastusminimus wrote:
> > At 10:48 AM -0600 9/8/03, h-costume-request@indra.com wrote:
> > >Amazingly enough, I actually found something interesting at my local
> > >JoAnn's today!
> > >
> > >They had a (relatively) big section of cotton prints they were
> > >calling either vegetable prints or vegetable dyes (can't remember
> > >which).  
> 
> It makes a *big* difference, though!  :-)  I'd bet it was vegetable prints, 
> based on what I know of JoAnn's--though I'd like to be wrong on this one!
> 
> > > They are very Indian-esque cotton prints done in vegetable
> > >dyes, and they look surprising like some 18th century prints I've
> > >found, both in terms of motif and color scheme.
> 
> That's a good thing, whether we're talking vegetable prints done with 
> vegetable dyes or now.
> 
> [snip]
> 
> -- 
> Cathy Raymond <cathy@thyrsus.com>
> 
> "There are only two ways of telling the complete truth--anonymously and 
> posthumously."   Thomas Sowell
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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----- Original Message -----
From: <AlbertCat@aol.com>
Subject: Re: [h-cost] 18th c.-ish print fabric at JoAnn's


<snip>

> Funny, I KNEW you'd be talking about these before I read on. They are
pretty
> good, I think. Especially the ones that look blockprinted. But these all
have
> a 19th century look to me. Some would make a great 1830-50s dress. There
are
> some East Indian looking ones that are 18th century-esque, if a little
dense
> pattern-wise. I bought some. I planned, in my head, an 1780-90 gown for
> it....middle/uppermiddle class.

ooo -- good point!  I didn't think about the 1830s/40s revival of 18th
c.-esque fabrics.  I was originally thinking of something similar (1780-90
dress), but now I might go back and get some more yardage and do 1830s!

> What this line of fabrics does definitely have is character.

Which is so surprising for JoAnns!

- Kendra
http://demode.tweedlebop.com

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wifeliness
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On Mon, 8 Sep 2003, Catherine Olanich Raymond wrote:

> Obligatory costume content.  When I was growing up in the 1960's and
> early 1970's, my mom mostly wore what was marketed as "Housecoats" or
> "house dresses".  They were cotton coatdresses that buttoned all the
> way down the front, and short-sleeved or sleeveless.  The nicer ones
> had bust darts and were slightly fitted to the body, while the cheaper
> ones were looser, almost like nightrobes (which they could substitute
> for in a pinch).

Buttoned? I remember ones with snaps! Anyone else remember those?

I work at home and actually would love to have some of these, to pull on
in the morning when I don't really feel like getting dressed but just want
to get right to the computer. Since you can't find them in the stores
anymore, I made a bunch of A-line knee-length nightgowns -- some in nice
linen dress prints and a couple in "novelty" cotton quilting prints. I
rarely wear them to sleep in unless I'm traveling. I pull them on in the
morning when I get up to get the kids off to school, and then wear them
around the house before I get dressed. Which, if I'm really deeply into
work, might be around 3 p.m. some days.

--Robin


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Housecoats:
> Buttoned? I remember ones with snaps! Anyone else remember those?

Yup. My Mom had some.
 
Arlys


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On Monday 08 September 2003 09:16 pm, Cynthia J Ley wrote:
> Housecoats:
> > Buttoned? I remember ones with snaps! Anyone else remember those?
>
> Yup. My Mom had some.

So did mine.  I should have mentioned that the first time!

-- 
Cathy Raymond <cathy@thyrsus.com>

"There are only two ways of telling the complete truth--anonymously and 
posthumously."   Thomas Sowell
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Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
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On Monday 08 September 2003 08:43 pm, sewinggoddess@att.net wrote:
> They are vegetable dyes. They do run when washed.

You may well be right about the fabrics in question...but the fact that it 
runs when washed doesn't automatically mean it was dyed with a vegetable dye.  
I have dark green towels from Lands' End which constantly bled dye until 
they'd been washed 20 times at least.



-- 
Cathy Raymond <cathy@thyrsus.com>

"There are only two ways of telling the complete truth--anonymously and 
posthumously."   Thomas Sowell
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] wifeliness
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My Mom had both---she thought buttons prettier--and prefered those---but my dad prefered the more modern style, with the snaps:)
Albra

Cynthia J Ley <cley@juno.com> wrote:
Housecoats:
> Buttoned? I remember ones with snaps! Anyone else remember those?

Yup. My Mom had some.

Arlys


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Subject: Re: [h-cost] wifeliness
Date: Tue, 9 Sep 2003 00:48:12 -0400
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<Buttoned? I remember ones with snaps! Anyone else remember those?

Actually, my mom still has those.  They are even still available through
mail-order catalogs that cater to the Social Security set.

Janet

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com

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To: "Historical Costume" <h-costume@indra.com>
References: <200309090043.h890hruJ002223@net.indra.com>
Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
Date: Tue, 9 Sep 2003 09:03:30 -0400
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If these run, that would be one reason the contemporary public might not
want them.  If it isn't colorfast and drip dry, no ironing required, all the
sweet design in
the world won't tempt them.
                    -----                 Original Message ----- 
    From: <sewinggoddess@att.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 08, 2003 8:43 PM
Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth


> They are vegetable dyes. They do run when washed.
>
> Crissy
>
> > On Monday 08 September 2003 02:30 pm, fastusminimus wrote:
> > > At 10:48 AM -0600 9/8/03, h-costume-request@indra.com wrote:
> > > >Amazingly enough, I actually found something interesting at my local
> > > >JoAnn's today!
> > > >
> > > >They had a (relatively) big section of cotton prints they were
> > > >calling either vegetable prints or vegetable dyes (can't remember
> > > >which).
> >
> > It makes a *big* difference, though!  :-)  I'd bet it was vegetable
prints,
> > based on what I know of JoAnn's--though I'd like to be wrong on this
one!
> >
> > > > They are very Indian-esque cotton prints done in vegetable
> > > >dyes, and they look surprising like some 18th century prints I've
> > > >found, both in terms of motif and color scheme.
> >
> > That's a good thing, whether we're talking vegetable prints done with
> > vegetable dyes or now.
> >
> > [snip]
> >
> > -- 
> > Cathy Raymond <cathy@thyrsus.com>
> >
> > "There are only two ways of telling the complete truth--anonymously and
> > posthumously."   Thomas Sowell
> > _______________________________________________
> > 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] Re: JoAnn's Vegital dyed cloth
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	<003b01c376d2$c4aba9a0$775183d1@rmitchellras>
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Something I've found out from my forays into natural dyes, as well. 
Modern clothes detergents are often formulated to regard the compounds
that make the colors for natural dyes as stains, and thus as something
to be removed.  You have to be really, really careful how, and with
what, you wash your naturally-dyed article, or the color can/will go
bye-bye.
--sue

Lloyd Mitchell wrote:
> 
> If these run, that would be one reason the contemporary public might not
> want them.  If it isn't colorfast and drip dry, no ironing required, all the
> sweet design in
> the world won't tempt them.
>                     -----                 Original Message -----
>     From: <sewinggoddess@att.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, September 08, 2003 8:43 PM
> Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
> 
> > They are vegetable dyes. They do run when washed.
> >
> > Crissy
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Subject: Re: [h-cost] wifeliness
References: <Pine.LNX.4.10.10309082022270.13887-100000@shell.nightowl.net>
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And very similar styles show up in the cheaper sections of plus-sized
catalogues.  I've always thought them pretty nasty-looking, though....
--sue

Janet Davis wrote:
> 
> <Buttoned? I remember ones with snaps! Anyone else remember those?
> 
> Actually, my mom still has those.  They are even still available through
> mail-order catalogs that cater to the Social Security set.
>
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wifeliness
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On Tue, 9 Sep 2003, Sue Clemenger wrote:

> And very similar styles show up in the cheaper sections of plus-sized
> catalogues.  I've always thought them pretty nasty-looking, though....

Yes, for some reason the nastiest designs have survived. They're about a
half step up from hospital gowns, I think. Suitable for my grandmother
when she was in the nursing home, but not so much the casual housedress.

--Robin

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From h-costume-bounces@indra.com  Tue Sep  9 09:39:14 2003
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Tudor "false undersleeves" attachment?
To: Historical Costume <h-costume@indra.com>
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Characters in hsitorical dramas were very frequently
presented in what was viewed as 'old-fashioned'
clothing as opposed to accurate historical garments.
So in 1601, the fashions prevalent 50 years ago would
have been considered 'old-fashioned'. Given the
tendency of people to stay with styles popular in
their youth, its even possible some older women were
still wearing a variant on the Tudor forsleeves. It's
purely my personal intepretation of reading the play
that leads me to believe the characters are dressed in
earlier Tudor style garments. 




 --- Melanie Schuessler <melanie@faucet.net> wrote: >
Catalina Sanabria Rosado wrote:
> >  Marian:     "You are not well, I promise you,
> Your
> > forsleeves are not pind 
> <...>
>   Acted by the Right Honourable the Earle of
> > Nothingham, Lord high Admirall of England, his
> > servants. 1601.
> 
> This is a very interesting (and entertaining) quote,
> but the large Tudor 
> undersleeves had been out of style for almost 50
> years by 1601--I'm not 
> sure that's what the quote is referring to.
> 


=====


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Subject: [h-cost] suspender parts
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Was someone on h-cost asking about suspender parts?  I remember the 
question, but not which mailing list it came from...

Just in case it was this one, and indeed this info is useful for other 
purposes as well, try Gohn Brothers, which is an Amish supply company in 
Indiana.  They do not have a website, but they are very nice and will 
send you a no-frills catalog full of things like button suspenders (for 
$6!), suspender parts, black hats, cotton broadfall pants, bonnets, 
cotton stockings, etc.

1-800-595-0031

[standard disclaimer]

Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
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On Tue, 9 Sep 2003, Melanie Schuessler wrote:

> Just in case it was this one, and indeed this info is useful for other
> purposes as well, try Gohn Brothers, which is an Amish supply company
> in Indiana.  They do not have a website, but they are very nice and
> will send you a no-frills catalog full of things like button
> suspenders (for $6!), suspender parts, black hats, cotton broadfall
> pants, bonnets, cotton stockings, etc.

Buttons? For the Amish?

What is this world coming to?

--Robin



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Robin Netherton wrote:
> Yes, for some reason the nastiest designs have survived. They're about a
> half step up from hospital gowns, I think. Suitable for my grandmother
> when she was in the nursing home, but not so much the casual housedress.

When I was looking for "housedresses" I found the dress style sold by 
S.C.R.U.B.S. to be just the thing.  Simple, tied in the back, and 
extremely fun cotton prints - the sort of thing you see in the jazzier 
quilt shops.  I'm fairly sure that was the name of the company, but it's 
not online.

On the other tangent, the best-remembered bit of my grandmother's advice 
runs counter to the "housework as religion" historical mentality.  "If 
you've been out all day and come home just before you expect your 
husband to be home, even before you take off your hat, put some onions 
in the frypan to fry.  He'll be reassured that dinner is well underway."

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Would you appear nude in a movie?
   I don't even bathe nude.  -- Alison Bechdel
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Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
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In a message dated 9/9/03 9:05:04 AM Eastern Daylight Time, 
rmitchell@washjeff.edu writes:

> If these run, that would be one reason the contemporary public might not
> want them.  If it isn't colorfast and drip dry, no ironing required, all the
> sweet design in
> the world won't tempt them.
> 

How true.


But these are not REALLY vegetable dyes. They just look it. And they are 
printed with modern technology but they look block printed or hand painted.
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In a message dated 9/8/03 8:51:17 PM Eastern Daylight Time, 
sewinggoddess@att.net writes:

> They are vegetable dyes. They do run when washed.  
> 

Are you sure? Mine didn't.
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Date: Tue, 09 Sep 2003 08:45:29 -0700
Subject: Re: [h-cost] RE: h-costume Digest, fingers and rings
From: Lynn Downward <LDownward@chori.org>
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That is fascinating!  I had known that only fools wore rings on their middle
finger but I didn't know the ancient reason why (except it's uncomfortable
to wear a ring on that finger with other rings on the adjacent fingers).  I
also knew what an insult it was to bite ones thumb at someone, but didn't
know the reason.  So this is in Graves' The White Goddess?  Is this a
fiction or non-fiction book?

LynnD

On 9/8/03 3:02 PM, "Margaret Baird" <beads@traknet.com> wrote:

> 
> 
> I can give a partial answer to this riddle.  It has to do with the
> ancient "poetic" meanings of fingers!  The fingers are named fore
> finger(for the foremost god of the celtic world), fool's finger (for
> Saturn, the Winter soltice fool who is beheaded but rises unharmed),
> leach or ring finger, and oracular or ear finger( poet's and bards used
> the pinkie to plug their ears when remembering stories or when writing
> new verses.  The thumb is the phallus finger, rings of iron were worn on
> this finger as a nod to Vulcan, Venus' husband. (Thus when Shakespear
> has Romeo and Mecruccio (sorry, shakespear is packed so I'm not getting
> this exactly right) in verbal battle with What's his name and one of
> them says, "Do you bite your thumb at me Sir?"  "Yes I bite my thumb at
> you."  They were being very rude and telling each other to SMD. The four
> finger on the left hand was the least used finger and therefore the
> safest to wear precious stones on, also it has a small, visible vein
> leading to the heart and therefore links Apollo (heart, gold) to that
> finger. However to wear a ring on the fool's finger was to indicate hope
> of resurection or reincarnation in the ancient world, something that
> Christian Europe would have frowned upon, after all they put their hopes
> of that in the tithe basket every Sunday.  For more on this subject read
> chapter 11 of The White Goddess by Robert Graves.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Cynthia Virtue wrote:
When I was looking for "housedresses" I found the dress style sold by
S.C.R.U.B.S. to be just the thing.  Simple, tied in the back, and
extremely fun cotton prints - the sort of thing you see in the jazzier
quilt shops.  I'm fairly sure that was the name of the company, but it's
not online.

Yes, they are on line.  www.smartscrubs.com  is where you will find the
current batch of stuff from S.C.R.U.B.S.  They went out of business briefly,
and were picked up by smartscrubs, who also sells several other lines of
scrubs on the same website.  They have great prints, and I buy almost all of
my workclothes from them.  They still offer a dress version, although I've
never tried that one.
-Megan

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From: kat@grendal.rain.com
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> > And very similar styles show up in the cheaper sections of
> > plus-sized catalogues.  I've always thought them pretty
> > nasty-looking, though....
> 
> Yes, for some reason the nastiest designs have survived. They're about
> a half step up from hospital gowns, I think. Suitable for my
> grandmother when she was in the nursing home, but not so much the
> casual housedress.

I think that's because they know that people in nursing homes need 
that sort of thing (especially the tie in the back like hospital 
gowns: look "nice" from the front but are easy to get off grandma 
when she has an "accident" and needs to be cleaned up pronto.) I 
suspect that they don't consider that the rest of us would like 
something like that.

Around the house I sometimes just wear one of my knit dresses that 
have a gathered skirt. (That is, when I'm not sitting around in my 
exercise clothes.) But I do have a "muu muu" like dress I sometimes 
wear in really hot weather. (It's a broomstick style one, not a print 
type like they had in the 50's through 60's when I was growing up.)

Kat
<kat@redtrollforge.com>


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Lynn Downward <LDownward@chori.org> wrote:
> That is fascinating!  I had known that only fools wore rings 
>their middle finger but I didn't know the ancient reason why
>(except it's uncomfortable to wear a ring on that finger with
>other rings on the adjacent fingers). I also knew what an
>insult it was to bite ones thumb at someone, but didn't know
>the reason.  So this is in Graves' The White Goddess?  Is this a
>fiction or non-fiction book?

Fiction, and I'm sorry to say, not a reliable source. This novel was part of the early neo-pagan revival in the first part of the 20th century. It may contain some historical information, but it's probably better to check it against other sources. I'd expect it's a better reflection of the attitudes of the time Graves was writing (early 20th century I believe) than of the times in which he set the story.

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Thanks Sue,

That's a REALLY good point!  And I never would have thought of it unless you 
had said.

:)  jessica

>Modern clothes detergents are often formulated to regard the compounds
>that make the colors for natural dyes as stains, and thus as something
>to be removed.  >--sue
>
>

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


>Buttons? For the Amish?
>
>What is this world coming to?

I'll second the recommendation of Gohn Brothers, though I haven't bought anything from them in a while. Good quality, accurate descriptions, terrific prices and lots of things you can't find anywhere else. They will happily send fabric swatches if you need them (since their catalog has no pictures). They're the only place I've ever seen piece-dyed denim (at least I think that's how it's done) -- i.e. denim that doesn't have visible white threads in it. Looks quite different from the familiar stuff, and wears very well. They are also extremely nice people -- I had occasion to phone them once, and the phone was answered by one of the actual Gohn Brothers <g>.

When I was buying from them, IIRC "Gohn Brothers, Middlebury, Indiana" was sufficient address to reach them, but someone who has their catalog can probably give the rest of the address.

They sell stuff for all of the varieties and sub-varieties of Amish, Mennonites, et cetera, so they are careful to specify things like whether coats have buttons or hooks, which white fabrics are suitable for women's caps, et cetera. (I believe only some of the Amish avoid buttons, and only on coats and similar outer garments IIRC).

------------------Original message-------------------
>> Just in case it was this one, and indeed this info is useful for other
>> purposes as well, try Gohn Brothers, which is an Amish supply company
>> in Indiana.  They do not have a website, but they are very nice and
>> will send you a no-frills catalog full of things like button
>> suspenders (for $6!), suspender parts, black hats, cotton broadfall
>> pants, bonnets, cotton stockings, etc.

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On Tue, 9 Sep 2003 kat@grendal.rain.com wrote:

> Around the house I sometimes just wear one of my knit dresses that
> have a gathered skirt. (That is, when I'm not sitting around in my
> exercise clothes.) But I do have a "muu muu" like dress I sometimes
> wear in really hot weather. (It's a broomstick style one, not a print
> type like they had in the 50's through 60's when I was growing up.)

Kat saw me in one of my homemade nightgowns/housedresses a few weeks ago
and called it a muu-muu, IIRC. However, the print (a novelty quilting
print) was designed as a collage of clippings and headlines from the New
York Times. I pointed out that I like to read the newspaper in bed (and so
does my husband).

With my linen print ones, I can slip them on as I get out of bed, slide my
feet into sandals, and go out and get the paper looking vaguely
respectable, if a little dated.

--Roin


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On Tuesday 09 September 2003 11:45 am, Lynn Downward wrote:
> That is fascinating!  I had known that only fools wore rings on their
> middle finger but I didn't know the ancient reason why (except it's
> uncomfortable to wear a ring on that finger with other rings on the
> adjacent fingers). 

Back when I wore rings, I wore a ring on that finger routinely, because my 
ring fingers were too small to keep most rings on!  I never found in 
uncomfortable.


-- 
Cathy Raymond <cathy@thyrsus.com>

"There are only two ways of telling the complete truth--anonymously and 
posthumously."   Thomas Sowell
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Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
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Having just returned from Jo Ann's...


Yes, they ARE vegetable dyes and the instructions are to hand wash cold and 
separate..."Not color fast"...

Scusi!


I bought a bolt. [8 yds] It was 40% off.
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From: Gail & Scott Finke <gailscott@eos.net>
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I'm going to chime in on this one. I don't believe Robert Graves is a good
historical source. And when you're looking at anything referring to "pagan
tradition," for lack of a better word, you can be sure that more often than
not it's made up. The early 20th century was a boom time for made-up pagan
ceremonies, "lost" knowledge, etc. There is plenty of research that traces
many of these sources back to the same, fictional stuff. This isn't to say
that there isn't any reliable information on pagan or pre-Christian
traditions, just that you have to be awfully careful about your source.

Gail Finke


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From: sekhmet <sekhmet42@yahoo.com>
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Subject: [h-cost] Regency underclothes/corset
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I'm almost done with my regency corset and am
pondering the rest of my costume that has to be made
in the next 6 weeks before the ball!

Has anyone come up with a way to single-handedly
single lace? I'm at the decision point in placing the
lacing eyelets. I would prefer to do the more
historically accurate single lacing, but have to
assume I'll be putting the corset on myself and doing
it up as best I can. I can easily reach behind my back
to pull the lacing, but obviously can't get much
leverage to get it snug. I've seen helpful hints for
cross-lacing yourself on some websites, but very
little on single lacing other than "difficult, don't
bother".

Also I'm trying to find out the order of undergarments
under a Regency ballgown of about 1810. Was a chemise
worn under the corset or over?  My local library
doesn't provide many costume books and my own
reference books are limited to Arnold's Patterns of
Fashion and Waugh's Corsets & Crinolines, but they
don't appear to address this. I assume they had to
wear something over the corset or it might show under
the dress. Were they wearing waist petticoats as well?
I bought a chemise pattern that seems to be generally
accepted as historically accurate, but I can't
envision it under the dresses I see women wearing in
portraits and fashion illustrations. Given the
decollete of ballgowns, the sheerness of sleeve fabric
and general drapiness of style, I would think a
chemise would have to be very low cut, sleeveless and
thin. 

Any suggestions gratefully received. 

Thanks, Irene

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From: "Sarafina Sinclair" <ladysarafina@att.net>
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Subject: Re: [h-cost] Regency underclothes/corset
Date: Tue, 9 Sep 2003 21:18:36 -0500
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You could try doing a single spiral.

Harlie


----- Original Message ----- 
From: "sekhmet" <sekhmet42@yahoo.com>
To: <h-costume@net.indra.com>
Sent: Tuesday, September 09, 2003 9:10 PM
Subject: [h-cost] Regency underclothes/corset


> I'm almost done with my regency corset and am
> pondering the rest of my costume that has to be made
> in the next 6 weeks before the ball!
> 
> Has anyone come up with a way to single-handedly
> single lace? I'm at the decision point in placing the
> lacing eyelets. I would prefer to do the more
> historically accurate single lacing, but have to
> assume I'll be putting the corset on myself and doing
> it up as best I can. I can easily reach behind my back
> to pull the lacing, but obviously can't get much
> leverage to get it snug. I've seen helpful hints for
> cross-lacing yourself on some websites, but very
> little on single lacing other than "difficult, don't
> bother".
> 
> Also I'm trying to find out the order of undergarments
> under a Regency ballgown of about 1810. Was a chemise
> worn under the corset or over?  My local library
> doesn't provide many costume books and my own
> reference books are limited to Arnold's Patterns of
> Fashion and Waugh's Corsets & Crinolines, but they
> don't appear to address this. I assume they had to
> wear something over the corset or it might show under
> the dress. Were they wearing waist petticoats as well?
> I bought a chemise pattern that seems to be generally
> accepted as historically accurate, but I can't
> envision it under the dresses I see women wearing in
> portraits and fashion illustrations. Given the
> decollete of ballgowns, the sheerness of sleeve fabric
> and general drapiness of style, I would think a
> chemise would have to be very low cut, sleeveless and
> thin. 
> 
> Any suggestions gratefully received. 
> 
> Thanks, Irene
> 
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Tue, 09 Sep 2003 22:16:51 -0500
From: Melanie Schuessler <melanie@faucet.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] suspender parts
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Robin Netherton wrote:
> On Tue, 9 Sep 2003, Melanie Schuessler wrote:
> 
> 
>>Just in case it was this one, and indeed this info is useful for other
>>purposes as well, try Gohn Brothers, which is an Amish supply company
>>in Indiana.  They do not have a website, but they are very nice and
>>will send you a no-frills catalog full of things like button
>>suspenders (for $6!), suspender parts, black hats, cotton broadfall
>>pants, bonnets, cotton stockings, etc.
> 
> 
> Buttons? For the Amish?
> 
> What is this world coming to?

Er...I guess the suspender buttons are probably on the inside of the 
waistband where they wouldn't show and be a possible venue for vanity, 
but I dunno.  I'm not Amish--I just buy their stuff!

:)
Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University


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From: Melanie Schuessler <melanie@faucet.net>
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Subject: Re: [h-cost] suspender parts
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Chris Laning wrote:

 > When I was buying from them, IIRC "Gohn Brothers, Middlebury,
 > Indiana" was sufficient address to reach them, but someone who has
 > their catalog can probably give the rest of the address.

My catalog says

Gohn Bros.
105 South Main
Box 1110
Middlebury, IN 46540-1110

In addition to being friendly, they're also fast.  When I was in 
Wisconsin, sometimes we would order something and receive it two days later.

Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] suspender parts-Gohn Brothers
Date: Tue, 9 Sep 2003 22:33:18 -0400
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Ok, I'll bite.  Do  you have to write to get a catalog?  Or is there a phone
number we can call?
-Megan

old message:
My catalog says

Gohn Bros.
105 South Main
Box 1110
Middlebury, IN 46540-1110

In addition to being friendly, they're also fast.  When I was in
Wisconsin, sometimes we would order something and receive it two days later.

Melanie Schuessler


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Date: Tue, 09 Sep 2003 20:33:49 -0600
From: Sue Clemenger <mooncat@in-tch.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
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I'm going tomorrow.
Since you've dealt with 18th c. stuph, Albert, what do you recommend
using it for? Is it light enough to use as a gown? would it be better
for a Caraco? I've been wanting to play in the 1700s for a while now
(costuming-wise; there's no group for it anywhere near me).
--sue

AlbertCat@aol.com wrote:
> 
> Having just returned from Jo Ann's...
> 
> Yes, they ARE vegetable dyes and the instructions are to hand wash cold and
> separate..."Not color fast"...
> 
> Scusi!
> 
> I bought a bolt. [8 yds] It was 40% off.
> _______________________________________________
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Megan M. wrote:
> Ok, I'll bite.  Do  you have to write to get a catalog?  Or is there a phone
> number we can call?

I sent the phone number in the first message, but without the address, 
then the address in the second message without the phone number!  So to 
avoid any further dismay, here's everything together:

Gohn Bros.
105 South Main
Box 1110
Middlebury, IN 46540-1110

219-825-2400
1-800-595-0031


Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University


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Date: Wed, 10 Sep 2003 09:00:59 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Regency underclothes/corset
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>>> sekhmet42@yahoo.com 09/10/03 03:10am >>> wrote:
>Also I'm trying to find out the order of undergarments
>under a Regency ballgown of about 1810. Was a chemise
>worn under the corset or over?  

I've always understood the chemise (or equivalent) to have been
intended as a washable lining to the rest of the clothing, always worn
next to the skin. I don't know how how they managed with the flimsy
dress fabrics of that era, though. Did the muslin gowns have an opaque
lining?



Kate Bunting
Library, University of Derby
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I'm glad to hear I'm not the only one who makes up
nightgowns in wild prints to wear around the house. 
For awhile the local Walmart had a rack of old style
housedresses but the fabric was thin for nightgowns. 
I bought one and  took a pattern so I could get the
bust to fit (DDs).  Having just had thyroid surgery
(2days ago) I'm glad I have housedresses with lower
necklines.  Now I just have to sort out my historic
clothing so I have something to wear until the scar
fades.  I considered jewelry but thought the skin
might be a little sensitive for a necklace for a while
and the scar is a little low for a choker.  Itchy as
all get out right now so it's time for more benadryl.
Happy sewing all.
                                        Cassandra

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Subject: Re: [h-cost] Regency underclothes/corset
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In a message dated 9/9/2003 10:11:20 PM Eastern Standard Time, 
sekhmet42@yahoo.com writes:
Were they wearing waist petticoats as well?
I bought a chemise pattern that seems to be generally
accepted as historically accurate, but I can't
envision it under the dresses I see women wearing in
portraits and fashion illustrations. Given the
decollete of ballgowns, the sheerness of sleeve fabric
and general drapiness of style, I would think a
chemise would have to be very low cut, sleeveless and
thin. 
Chemises of the period often have a very wide neck.  Never seen a sleeveless 
one, but some have pretty skinny sleeves.  Some sheer gowns did have their own 
"slips," or underdresses--I have seen two or three extant, made of peach silk 
(to give a nude look), and one was sleeveless.  (By the 1810s-20s, these 
underdresses were evidently sometimes colored--have seen references to red and 
pink.)  Not sure whether these would always have been worn with a chemise or not. 
 Many of the sheer muslin gowns do have a bodice lining, so the underlayers 
of corset and chemise would not show through the top.
Ann  
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Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
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In a message dated 9/9/2003 10:32:21 PM Eastern Standard Time, 
mooncat@in-tch.com writes:


>  Is it light enough to use as a gown?

Oh yes. But it's not suitable for an upper crust affair. It's a day dress. A 
jacket of some kind would be lovely; especially if lined with an interesting 
lining, like a stripe, that you would catch a glimpse of.

Again, a lot of the patterns are kinda dense, which gives many of them a more 
19th century look IMHO. But a few of them will look great for the 18th 
century.
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From: kat@grendal.rain.com
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Date: Wed, 10 Sep 2003 08:14:39 -0700
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> On Tuesday 09 September 2003 11:45 am, Lynn Downward wrote:
> > That is fascinating!  I had known that only fools wore rings on
> > their middle finger but I didn't know the ancient reason why (except
> > it's uncomfortable to wear a ring on that finger with other rings on
> > the adjacent fingers). 
> 
> Back when I wore rings, I wore a ring on that finger routinely,
> because my ring fingers were too small to keep most rings on!  I never
> found in uncomfortable.

One of the reasons why I've looked for middle finger rings is that I 
always were one (a jade band, because I've got size 4 fingers and the 
bands don't come smaller) on that finger. (It's my "engagement" ring 
from my husband.) I also wear a ring on the "ring" finger next to it 
(a pyramid amethyst in what is supposedly a 15th C setting, from the 
Boston Museum of Art. Nice thing about gold is that you can get it 
sized.) It's not the least bit uncomfortable.

Kat
<kat@redtrollforge.com>


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> Kat saw me in one of my homemade nightgowns/housedresses a few weeks
> ago and called it a muu-muu, IIRC. However, the print (a novelty
> quilting print) was designed as a collage of clippings and headlines
> from the New York Times. I pointed out that I like to read the
> newspaper in bed (and so does my husband).

To me the difference between a house dress and a muu muu is that the  
house dress has a front opening.

Muu muus to me are usually in a print of some kind. Of course, most 
of the ones I remember from when they were popular tended to be in 
loud Hawaiian prints, larger ones than the ones you see on "Hawaiian 
shirts" now. Usually the man standing beside the lady in the muu muu 
was wearing one of the "H shirts." ;)

Kat
<kat@redtrollforge.com>


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>  So this is in Graves' The White Goddess?  Is this a
> >fiction or non-fiction book?
> 
> Fiction, and I'm sorry to say, not a reliable source. This novel was
> part of the early neo-pagan revival in the first part of the 20th
> century. It may contain some historical information, but it's probably
> better to check it against other sources. I'd expect it's a better
> reflection of the attitudes of the time Graves was writing (early 20th
> century I believe) than of the times in which he set the story.

Hmmm. I was wondering about his sources. I thought it sounded 
something like the stuff from "Women of the Celts" which turns out to 
be just neo-Pagan supposition. If you can't find evidence because 
it's been destroyed, make it up as you go. Sort of like some of the 
Violetta le Duc encyclopedia entries. ;)

Kat
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From h-costume-bounces@indra.com  Wed Sep 10 11:41:05 2003
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From: Lil Sorepaws <sorepaws@yahoo.com>
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Subject: [h-cost] Seeking Serger (and some Fabric) advice 
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Hello Ladies (and gents ;)

I'm delurking for a bit to ask you for some advice ...

I am looking at getting a serger (have never owned one though most of my
friends swear by theirs ...) and would like some "professional" opinions
about what to get.  I'd prefer to spend under 400-500$ for it but my main
needs are SIMPLE THREADING and Ease of Use .. I don't need 10000 different
stitches, just mainly basic stuff .. heck my home sewing machines have a
lot of stitches and I've barely used any besides straight and zigzag!! ;)

Any advice on what brand & model to check out?  Many Thanks!!

Also, I just bought some GORGEOUS saffron colored silk shantung (yes I can
hear the groans now but its for an italian courtesans gown and there is
research backing the use of slubbed silk in clothing in italy ...
Especially in lower middle class and merchant class clothing ;) so was
looking for ideas of where to locate some paintings or pictures of Italian
Courtesans ??  Right now I am seriously thinking of simply using some
screenshots from "Dangerous Beauty" in my design .. perhaps that
russet/red dress from when she first starts seeing the patronage money
pour in (when she comes in and flops on the big platform bed?) or the
amazing red ribbon gown she wears in the scene with the king of france ...

Opinions?  Advice?  Admonitions? ;)

Many many thanks in advance!!

- Lil da Lunatic ;)
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When sergers first came out for the home sewer, they were difficult to
thread, and people are still afraid of that. But all sergers being made
today are more user-friendly, so you don't need to pay for for any fancy
self-threading devices.

You do want differential feed, but almost all will have that as well. If
you find an older, used serger, be sure to see if it has differential
feed.

The other item that scares people about sergers is setting the tension.
You can sew with up to 5 threads at once, and all will need to have
their tension adjusted for the particular stitch and fabric you are
using. High-priced sergers now have automatic tension settings, which I
hear work well. I don't mind adjusting the tension manually on mine, now
that I have learned to do it. And you may still need to tweak the
tension, even on self-adjusting models.

I would recommend that you look at Juki or Bernette (Bernina) sergers,
or perhaps Elna or Janome. Look at basic 3/4 thread models with
differential feed. Try them out, and if they rattle and move around a
lot, get something else.

Whichever model you go for, get a lesson or two. It will help a lot.
Also, Threads magazine put out a good basic serging book a few years
ago: Easy Guide to Serging Fine Fabrics. I got mine as a remainder from
http://www.hamiltonbooks.com/
or you can order it from Threads, or get it at Barnes & Noble.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Lil Sorepaws
Sent: Wednesday, September 10, 2003 10:40 AM
To: h-costume@indra.com
Subject: [h-cost] Seeking Serger (and some Fabric) advice 

Hello Ladies (and gents ;)

I'm delurking for a bit to ask you for some advice ...

I am looking at getting a serger (have never owned one though most of my
friends swear by theirs ...) and would like some "professional" opinions
about what to get.  I'd prefer to spend under 400-500$ for it but my
main
needs are SIMPLE THREADING and Ease of Use .. I don't need 10000
different
stitches, just mainly basic stuff .. heck my home sewing machines have a
lot of stitches and I've barely used any besides straight and zigzag!!
;)

Any advice on what brand & model to check out?  Many Thanks!!

Many many thanks in advance!!

- Lil da Lunatic ;)
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From h-costume-bounces@indra.com  Wed Sep 10 15:07:29 2003
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Subject: [h-cost] online bra company
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I remember a post awhile back that had the url to an online bra company 
that made especially comfortable bras. Unfortunately, I've lost a bunch 
of files and do not have that bookmark anymore. The search engine for 
h-cost did not help locate that url. Could someone kindly post it again?

Cecilia

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From: "Five Rivers" <info@5rivers.org>
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Subject: [h-cost] polka dots in Regency?
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    I haven't yet come across any reference during the Regency to a dotted
fabric being used. Does anyone know if it was? I have this gorgeous length
of white viole with a royal blue dot, about 1/4", that begs to have
something swishy made out of it. Failing Regency I may have to find a use in
another era. Sigh.

    And why are they called 'polka' dots?

Regards
Lorina

Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, fax (519) 799-5418 http://www.5rivers.org  email:
info@5rivers.org

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From h-costume-bounces@indra.com  Wed Sep 10 18:07:13 2003
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From: Chris Laning <claning@igc.org>
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Subject: [h-cost] OT RE: h-costume Digest, fingers and rings
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If anyone's actually interested in where Robert Graves comes from, I highly recommend Ronald Hutton's several books: 
_The Pagan Religions of the Ancient British Isles_
_The Rise and Fall of Merry England_
_Stations of the Sun_
_Triumph of the Moon_

(I can't guarantee the exact wording of the titles since I'm about 3000 miles from my bookshelves at the moment.)

In particular, the first is a discussion of what we actually _do_ know about pagan Britain, and the last is a very illuminating and detailed discussion of the origins of modern paganism, complete with lots of names, dates and places. (I found I kept saying "Oh, so THAT's where that comes from!")

Hutton is something of a professional skeptic and is fairly ruthless about pointing out areas where there is simply no evidence of what went on. On the other hand, he is also fair, sympathetic, and a very good scholar IMHO.

-----Original Message-----
From: kat@grendal.rain.com
Sent: Sep 10, 2003 11:14 AM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: h-costume Digest, fingers and rings

>  So this is in Graves' The White Goddess?  Is this a
> >fiction or non-fiction book?
> 
> Fiction, and I'm sorry to say, not a reliable source. This novel was
> part of the early neo-pagan revival in the first part of the 20th
> century. It may contain some historical information, but it's probably
> better to check it against other sources. I'd expect it's a better
> reflection of the attitudes of the time Graves was writing (early 20th
> century I believe) than of the times in which he set the story.

Hmmm. I was wondering about his sources. I thought it sounded 
something like the stuff from "Women of the Celts" which turns out to 
be just neo-Pagan supposition. If you can't find evidence because 
it's been destroyed, make it up as you go. Sort of like some of the 
Violetta le Duc encyclopedia entries. ;)

Kat
<kat@redtrollforge.com>


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____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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From h-costume-bounces@indra.com  Wed Sep 10 18:20:27 2003
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From: "Cynthia Abel" <brujne@creighton.edu>
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Subject: Re: [h-cost] polka dots in Regency?
Date: Wed, 10 Sep 2003 17:12:44 -0500
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While checking out some reproductions of fashion plates from Heideloff's
"Gallery of Fashion"(ran in London circa 1794-1804)I also came across some
plates from Ackermann's--a Regency era publication.

While I saw and read decriptions of gowns with a white spot(on white) or red
spot(on white), I didn't read or see a navy blue that looked like dotted
Swiss.

Your best recourse would be to see actual gowns or photographs as
illustations allow for a lot of artistic license, of course.

I don't know about other members of this list, but I'd love to see Dover
Publications(or someone out there) do a republication of at least some of
the plates from "Gallery of Fashion" in full color.  While nearly a complete
run of this publication is available on microfilm, it is in black and white,
and not color.  Some plates have been reproduced in smaller sizes in various
books, but the decade 1794-1804 is very under-covered for fashion history.
Fans of Jane Austen would probably also appreciate such a work.

Cindy Abel
----- Original Message ----- 
From: "Five Rivers" <>
To: "Historic Costume List" <h-costume@net.indra.com>
Sent: Wednesday, September 10, 2003 4:23 PM
Subject: [h-cost] polka dots in Regency?


>     I haven't yet come across any reference during the Regency to a dotted
> fabric being used. Does anyone know if it was? I have this gorgeous length
> of white viole with a royal blue dot, about 1/4", that begs to have
> something swishy made out of it. Failing Regency I may have to find a use
in
> another era. Sigh.
>
>     And why are they called 'polka' dots?
>
> Regards
> Lorina
>
> Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
> fine hand-sewn embroidered garments, historical sewing patterns &
embroidery
> supplies
> (519) 799-5577, fax (519) 799-5418 http://www.5rivers.org  email:
> info@5rivers.org
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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Subject: Re: [h-cost] polka dots in Regency?
Date: Wed, 10 Sep 2003 23:26:36 +0100
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in a V&A fabric print book of the period there is a fab egg yellow fabric
with large polka dots in white that I have been dying to do in years if \I
could only wear that colour

dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6717

> While checking out some reproductions of fashion plates from Heideloff's
> "Gallery of Fashion"(ran in London circa 1794-1804)I also came across some
> plates from Ackermann's--a Regency era publication.
>
> While I saw and read decriptions of gowns with a white spot(on white) or
red
> spot(on white), I didn't read or see a navy blue that looked like dotted
> Swiss.


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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Seeking Serger advice 
Date: Wed, 10 Sep 2003 19:03:26 -0400
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Also, if you need inexpensive, don't forget to check your local Sears store.
I'm not sure whose machines they are badging these days, but they do sell
sewing machines and sergers. I got mine about 6 or 7 years ago, and use it
mostly just to finish fabric edges.  It is a 2,3,4 thread serger and does
everything I have ever wanted except the 5 thread cover stitch, but I was
unable to pay an extra grand for that at the time (and still not).  It is
not fancy but has served me very well.
-Megan


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From h-costume-bounces@indra.com  Wed Sep 10 19:54:42 2003
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From: "Nancy Kiel" <nancy_kiel@hotmail.com>
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Subject: Re: [h-cost] Regency underclothes/corset
Date: Wed, 10 Sep 2003 19:53:49 -0400
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What worked for me putting on my 18th century stays was 1) a really long 
lace 2)partially lacing them (from the top down), then putting them on over 
my head 3)tightening them from the top down, and tying the remainder of the 
lace around my waist and 4)allowing time to get into them.  Best of luck!



Nancy Kiel
nancy_kiel@hotmail.com
Never tease a weasel!
This is very good advice.
For the weasel will not like it
And teasing isn't nice.





>From: sekhmet <sekhmet42@yahoo.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: h-costume@net.indra.com
>Subject: [h-cost] Regency underclothes/corset
>Date: Tue, 9 Sep 2003 19:10:22 -0700 (PDT)
>
>I'm almost done with my regency corset and am
>pondering the rest of my costume that has to be made
>in the next 6 weeks before the ball!
>
>Has anyone come up with a way to single-handedly
>single lace? I'm at the decision point in placing the
>lacing eyelets. I would prefer to do the more
>historically accurate single lacing, but have to
>assume I'll be putting the corset on myself and doing
>it up as best I can. I can easily reach behind my back
>to pull the lacing, but obviously can't get much
>leverage to get it snug. I've seen helpful hints for
>cross-lacing yourself on some websites, but very
>little on single lacing other than "difficult, don't
>bother".
>
>Also I'm trying to find out the order of undergarments
>under a Regency ballgown of about 1810. Was a chemise
>worn under the corset or over?  My local library
>doesn't provide many costume books and my own
>reference books are limited to Arnold's Patterns of
>Fashion and Waugh's Corsets & Crinolines, but they
>don't appear to address this. I assume they had to
>wear something over the corset or it might show under
>the dress. Were they wearing waist petticoats as well?
>I bought a chemise pattern that seems to be generally
>accepted as historically accurate, but I can't
>envision it under the dresses I see women wearing in
>portraits and fashion illustrations. Given the
>decollete of ballgowns, the sheerness of sleeve fabric
>and general drapiness of style, I would think a
>chemise would have to be very low cut, sleeveless and
>thin.
>
>Any suggestions gratefully received.
>
>Thanks, Irene
>
>__________________________________
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From h-costume-bounces@indra.com  Wed Sep 10 21:07:55 2003
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Oh, perfect.  My 18th c. skills are in no way up to High Society
standards, so something a little more casual or middle class is just
what I'm looking for.  Thanks!
--sue

AlbertCat@aol.com wrote:
> 
> In a message dated 9/9/2003 10:32:21 PM Eastern Standard Time,
> mooncat@in-tch.com writes:
> 
> >  Is it light enough to use as a gown?
> 
> Oh yes. But it's not suitable for an upper crust affair. It's a day dress. A
> jacket of some kind would be lovely; especially if lined with an interesting
> lining, like a stripe, that you would catch a glimpse of.
> 
> Again, a lot of the patterns are kinda dense, which gives many of them a more
> 19th century look IMHO. But a few of them will look great for the 18th
> century.
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Kim Baird wrote:
> 
> I would recommend that you look at Juki or Bernette (Bernina) sergers,

I would like to second this.  I LOVE LOVE LOVE my Juki.  I've had it for 
over 10 years, and it goes through everything like buttah.  They're more 
expensive (maybe above your stated price range), but they're SO worth it 
if you're going to use it on anything like a regular basis.  When I had 
to buy everything for the costume shop at the university where I teach, 
I bought a Juki.  When I got frustrated with the cheap sergers where I 
used to work, I went home and used my Juki, then brought the 
seven-or-eight-layer-thick serged edge back to show my boss in an effort 
to convince him to buy one.

Just my little testimonial,
Melanie Schuessler


http://www.faucet.net/costume
Assistant Professor of Costume Design and Construction
Coastal Carolina University

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From h-costume-bounces@indra.com  Thu Sep 11 07:23:18 2003
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Subject: [h-cost] Indian Sari shops in DC?
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I am going to be in DC to play tourist while my husband takes a 1 week 
class.  I am looking to purchase several inexpensive saris.  Does anyone in 
that area know where I can go to look for some?  We will be staying in 
Springfield, VA just off the Springfield red line.  I really appreciate the 
help.

Jennifer

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Subject: Re: [h-cost] Indian Sari shops in DC?
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I am not sure about Sari shops but do not forget about the Library of
Congress and the Textile Museum's Library both are wonderful. (can you tell
I spent some time there about a month ago ;) .
Dinah
----- Original Message -----
From: "J.E. M-C" <jemarshall@fuse.net>
> I am going to be in DC to play tourist while my husband takes a 1 week
> class.  I am looking to purchase several inexpensive saris.  Does anyone
in
> that area know where I can go to look for some?  We will be staying in
> Springfield, VA just off the Springfield red line.  I really appreciate
the
> help.
> Jennifer


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From h-costume-bounces@indra.com  Thu Sep 11 08:14:18 2003
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Subject: [h-cost] Anyone have details on _Plucked,
	Shaved & Braided: Medieval and Renaissance Beauty_
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Hi Folks,

I got this note from Amazon yesterday, and I'm hoping someone might know 
the more-thorough scoop on this book, which was supposed to be out in June.
------
We have contacted the publisher by phone concerning the status of our
order for "Plucked, Shaved & Braided: Medieval and Renaissance Beauty
and Grooming Practices 1000-1600."

The representative that we spoke with indicated that this title has
not been released and there is no projected release date at this time.
Release dates tend to fluctuate, however, so there is a chance that
this will change.  If we receive additional information about this, we
will let you know.
------
(Then they went on with other information not relevant here.)

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

This is why real research isn't done from secondary sources. You never
know where those sources have been.  -- JayUtah on the Bad Astronomy board

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From h-costume-bounces@indra.com  Thu Sep 11 09:16:09 2003
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Date: Thu, 11 Sep 2003 06:15:24 -0700 (PDT)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Anyone have details on _Plucked, Shaved & Braided:
	Medieval and Renaissance Beauty_
To: Historical Costume <h-costume@indra.com>
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Status: RO

I got the same message as well---but no further info to add:(
Albra

Cynthia Virtue <cvirtue+dated+1078834775.bf2259@thibault.org> wrote:
Hi Folks,

I got this note from Amazon yesterday, and I'm hoping someone might know 
the more-thorough scoop on this book, which was supposed to be out in June.
------
We have contacted the publisher by phone concerning the status of our
order for "Plucked, Shaved & Braided: Medieval and Renaissance Beauty
and Grooming Practices 1000-1600."

The representative that we spoke with indicated that this title has
not been released and there is no projected release date at this time.
Release dates tend to fluctuate, however, so there is a chance that
this will change. If we receive additional information about this, we
will let you know.
------
(Then they went on with other information not relevant here.)

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

This is why real research isn't done from secondary sources. You never
know where those sources have been. -- JayUtah on the Bad Astronomy board

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From h-costume-bounces@indra.com  Thu Sep 11 09:24:53 2003
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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] Indian Sari shops in DC?
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I went to Yahoo's yellow pages & looked up saris in the Springfield VA area.
Here's what it showed:

  Sari-Sari House
(301) 248-7463   739 Cady Dr
Fort Washington, MD
10.5 miles from Springfield

   India Sari Palace Inc
(301) 434-1350   1337 University Blvd E
Takoma Park, MD
17.5 miles from Springfield

   Aanchal Saris
(301) 434-3029   8044 New Hampshire Ave
Hyattsville, MD
17.7 miles from Springfield

HTH!
Sheryl Nance-Durst


At 07:28 AM 9/11/03 -0400, you wrote:
>I am going to be in DC to play tourist while my husband takes a 1 week 
>class.  I am looking to purchase several inexpensive saris.  Does anyone 
>in that area know where I can go to look for some?  We will be staying in 
>Springfield, VA just off the Springfield red line.  I really appreciate 
>the help.
>
>Jennifer
>
>_______________________________________________
>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 Sep 11 09:31:25 2003
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
Subject: Re: [h-cost] Indian Sari shops in DC?
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Will you have a car? There are some sari shops (or used to be) in the
strip centers on Backlick Road in the middle of the Springfield shopping
district, just south of Franconia Road. Backlick splits into two halves (I
think both one-way in opposite directions, though one might be a spur) in
the block or two south of Franconia, and it's in that area around the
split that you'll find the strip centers. I recall a shop in a strip
center on the east side of the street -- I could get right to it but can't
give you better directions, sorry :-( Maybe a local on the list will know?

Also consider going up to the older urban section of Arlington, near the
Clarendon stop. For a block or three there are a bunch of ethnic
restaurants and shops, mostly Vietnamese. There used to be a bunch of tiny
fabric stores, at least one of which was still there when I visited a
couple of years ago. These are not sari stores, but some of the goods are
of similar interest.

Also in urban Arlington, on Wilson Boulevard somewhere between Rosslyn and
Clarendon, is a shop whose sign says "Indian Spices and Appliances" or
something like that. I used to go there for spices. You might see if
they're listed in the phone book; I bet they could point you to a sari
shop.

You might also inquire on the CostumeDC group (it's a yahoo group).

--Robin

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Date: Thu, 11 Sep 2003 09:13:31 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
Subject: Re: [h-cost] Indian Sari shops in DC?
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I wrote:

> Also in urban Arlington, on Wilson Boulevard somewhere between Rosslyn
> and Clarendon, is a shop whose sign says "Indian Spices and
> Appliances" or something like that. I used to go there for spices. You
> might see if they're listed in the phone book; I bet they could point
> you to a sari shop.

Whoops, not Wilson. Lee Hwy. I think this is it:

India A1 Grocery 
4815 North Lee Hwy 
Arlington, VA  22207 
703-841-9626

That's a possible place to inquire for information on local Indian shops,
not a place that sells saris.

And this, despite its improbable name, may be the shop I remember as
having saris. Worth a call:

New York Fabric 
6562 Backlick Road 
Springfield, VA  22150 
703-912-9066 

--Robin 
 


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>From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
>Date: Thu, 11 Sep 2003 08:32:00 -0500

>   India Sari Palace Inc
>(301) 434-1350   1337 University Blvd E
>Takoma Park, MD
>17.5 miles from Springfield
>
>   Aanchal Saris
>(301) 434-3029   8044 New Hampshire Ave
>Hyattsville, MD
>17.7 miles from Springfield

These shops are very close to each other. In fact, there are a number of 
smaller, non-chain fabric stores within a block or so of the University 
Blvd-New Hampshire Ave intersection. (There are shopping centers on all four 
sides of this intersection, in fact!) I haven't shopped there in a number of 
years, but found some nice fabrics and trims there in the past.

Peace,
Willie <--lives in the Maryland 'burbs of DC :)

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Subject: [h-cost] RE: Sears Machines
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<Also, if you need inexpensive, don't forget to check your <local Sears
store.I'm not sure whose machines they are <badging these days, but they do
sell sewing machines and <sergers.

NO NO NO NO NO NO!
Sears does not guarantee parts availability for ANY of their machines for
longer than three years!  If you need repairs after that, you will first
get notices that the part is on order for six months, THEN they will
finally admit that they can't help you.

I punched out a throat plate on a Kenmore sewing machine and ended up being
unable to replace it at any cost save having the part custom-machined!

Wendy Z
Chicago, IL
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From h-costume-bounces@indra.com  Thu Sep 11 11:52:15 2003
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	Thu, 11 Sep 2003 11:50:57 EDT
Date: Thu, 11 Sep 2003 11:50:57 -0400 (EDT)
From: liz haines <ejburtt2003@yahoo.ca>
Subject: Re: [h-cost] RE: Sears Machines
To: Historical Costume <h-costume@indra.com>
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This is true, I have not purchased a Kenmore because of this very reason. The machines tend to be inconsistant because the Kenmore brand is not always made by the same company. They tender the contract to other companies who manufacture the machines for them. When the current contract is up then you are out of luck for parts.
My hometown sewing machine repair guy HATES getting kenmores in for service. You are much better off getting a sewing machine or serger from a reputable dealer who has a few brand names to choose from. I am fond of Husquvarna, white, and juki. You pay a bit more but the long term investment is worth it when servicing and long term value are considered. Good luck with your purchase.
Liz Haines
store.I'm not sure whose machines they are sell sewing machines and 
NO NO NO NO NO NO!
Sears does not guarantee parts availability for ANY of their machines for
longer than three years! If you need repairs after that, you will first
get notices that the part is on order for six months, THEN they will
finally admit that they can't help you.

I punched out a throat plate on a Kenmore sewing machine and ended up being
unable to replace it at any cost save having the part custom-machined!

Wendy Z
Chicago, IL
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From h-costume-bounces@indra.com  Thu Sep 11 14:28:27 2003
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From: Lil Sorepaws <sorepaws@yahoo.com>
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Subject: [h-cost] Sergers
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Husvarna/White I know makes pretty awesome sewing machines (I own one tho
sadly to say mom and I both use our Singers since we currently don't have
any place to set up the Romeo ... ) but one of my friends basically hissed
when I suggested me getting a white serger.  She has a Brother she swears
by (I've seen Elna's, Whites and Brothers selling for within 50$ of each
other and the Juki is about 50$ more still at http://www.sewvacdirect.com/
... but what I may do is talk to the guy at Philips sew and Vac (not too
far from my house this guy repairs and resells machines and has ALWAYS
done a marvelous job even when I came in with a machine missing parts (I
think it WAS a kenmore from the 1950's that I have since handed off to a
friend who LOVES it!?) and doesn't charge an arm and a leg ... (cleaning a
machine in birmingham cost my mom almost 100$, I think he charged me 30
including parts) and see what he suggests in my price range and
capabilities since he has always really impressed me as both honest and
very well versed.  If I can't afford his prices but find the same machine
at http://www.sewvacdirect.com/ (they offer warranties on the machines
unlike ebay)I'll get it there but his have been pretty reasonable so far
;)

ANyways ... MUCH thanks to all - one last question:  from what i hear some
use regular sewing needles while others require special serger needles -
is there much difference in the end result between the two?

THANK YOU!!

- Lil (grand schemes, lots of work ahead of me ;)
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Subject: Re: [h-cost] Indian Sari shops in DC?
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There are a number of sari shops in Langley Park, Maryland, but this is not 
near the Metro.  I think there are some in northern Virginia, but someone else 
will have to supply details, as I don't know them.
Ann
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Subject: Re: [h-cost] Indian Sari shops in DC?
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In a message dated 9/11/2003 9:24:32 AM Eastern Standard Time, 
sherylnd@kc.rr.com writes:
India Sari Palace Inc
(301) 434-1350   1337 University Blvd E
Takoma Park, MD
17.5 miles from Springfield

   Aanchal Saris
(301) 434-3029   8044 New Hampshire Ave
Hyattsville, MD
17.7 miles from Springfield
These two are in Langley Park, and I think there is one more in the area.
Ann Wass
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From h-costume-bounces@indra.com  Thu Sep 11 16:09:46 2003
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From: pyrfectpup <pyrfectpup@earthlink.net>
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Subject: [h-cost] need bra site - please help
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Sorry for a second posting, but I would really like to find this site 
again. Someone had posted a site that sold bras. The site did not carry 
the "name" brand bras. It was not "Decent Exposures" either. The bras 
were somewhat expensive, but very quality. I've searched the archives 
and googled until I'm all "searched-out." If you have any suggestions, 
please forward them.

Cecilia
pyrfectpup @ earthlink.net
knitting a new paradigm in Southern California

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Subject: [h-cost] Re:  Serger
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I was in a similar situation a few months ago.  I did a bunch of research 
but in the end, ended up at my local sewing machine shop.  I told them what 
my budget was and (also that I was a student) she was able to show me the 
sergers that fit into my price range and the differences between each.  I 
ended up with a machine that she usually sold for a bit over my budget at a 
discounted price.  It worked out great!  My ding-bat brain can't think of 
the name of brand right now - it was one of those European sounding names 
that someone mentioned earlier.  I'll have to look when I get home from 
work...

Anyway, my suggestion is to go to the local sewing machine shop.  Not Sears 
or a fabric store as they are usually very set on the price.  Talk to the 
person who works there and be honest about your budget.  They want to make a 
sale and they also want to make you a lifelong customer so they're usually 
more flexible on this type of thing.  I'm very happy with my purchase and I 
feel that I got a little bit extra bang for my buck.

Good luck  &  Happy Serging!!!

:)  jessica

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Subject: [h-cost] RE: h-costume Digest, Robert Graves
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Although Robert Graves is best known for his historical novels (Caligula
and the like) The White Goddess is a non fiction exploration of ancient
poetic language and myth.  Originally published in 1948 he was ,of
course, limited to the understandings of his time and whatever work had
been done before him, as are all of us who attempt to reach back into
the ancient past through what was left behind however scant that may be.
However the mythological sources of poetic images was his field of
studies and when I read it I don't recall that he referred to texts that
were no longer available.  He does, as any scholar does, interpret the
evidence and as I neither read ancient Greek, nor Latin, nor Welsh I
have to bow to his interpretations of these works.  Margaret Baird
  

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From: Ron Carnegie <r.carnegie@verizon.net>
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Subject: Re: [h-cost] RE: h-costume Digest, Robert Graves
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beads> Although Robert Graves is best known for his historical novels (Caligula
beads> and the like) The White Goddess is a non fiction exploration of ancient
beads> poetic language and myth.  Originally published in 1948 he was ,of
beads> course, limited to the understandings of his time and whatever work had
beads> been done before him, as are all of us who attempt to reach back into
beads> the ancient past through what was left behind however scant that may be.
beads> However the mythological sources of poetic images was his field of
beads> studies and when I read it I don't recall that he referred to texts that
beads> were no longer available.  He does, as any scholar does, interpret the
beads> evidence and as I neither read ancient Greek, nor Latin, nor Welsh I
beads> have to bow to his interpretations of these works.  Margaret Baird


   I think you will find that Robert Graves wrote I CLAUDIUS not
CALIGUILA.  That second book was written by Gore Vidal (unless there are
two books by that name).
-- 

Ron Carnegie <r.carnegie@verizon.net>
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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Subject: Re: [h-cost] need bra site - please help
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I use herroom.com and bravissimo.com, and they are both wonderful.


On Thursday, September 11, 2003, at 01:09 PM, pyrfectpup wrote:

> Sorry for a second posting, but I would really like to find this site 
> again. Someone had posted a site that sold bras. The site did not 
> carry the "name" brand bras. It was not "Decent Exposures" either. The 
> bras were somewhat expensive, but very quality. I've searched the 
> archives and googled until I'm all "searched-out." If you have any 
> suggestions, please forward them.
>
> Cecilia
> pyrfectpup @ earthlink.net
> knitting a new paradigm in Southern California
>
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Robin Netherton wrote:

>I've collected quite a number of bra recommendations over the last few
>years, from h-cost and other lists. Here are the bits I've saved from
>other people's posts, though I can't vouch for these companies myself:
>
>------quoted stuff starts here-----
>
>http://www.title9sports.com/ has sports bras to at least a size E cup.  
>The "Frog Bra" is the one recommended, as it is supposed to hold even
>whilst jumping.
>
Thank you - it was the title9 site!!
Cecilia

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Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
Date: Fri, 12 Sep 2003 07:36:47 -0400
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I had a look at the veggie-dyes at my local store and they seem to be no
more than yardage of the 1970s popular "Indian throws". There were three to
choose from, and all were quite dark. What are some of the other patterns of
fabric that seem to be catching the imagination of some of the rest of you?

Kathleen

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, September 10, 2003 10:13 AM
Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth


> In a message dated 9/9/2003 10:32:21 PM Eastern Standard Time,
> mooncat@in-tch.com writes:
>
>
> >  Is it light enough to use as a gown?
>
> Oh yes. But it's not suitable for an upper crust affair. It's a day dress.
A
> jacket of some kind would be lovely; especially if lined with an
interesting
> lining, like a stripe, that you would catch a glimpse of.
>
> Again, a lot of the patterns are kinda dense, which gives many of them a
more
> 19th century look IMHO. But a few of them will look great for the 18th
> century.
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From: Robin Netherton <robin@shell.nightowl.net>
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A friend of mine alerts me to a historic costume exhibit in NYC next year:

Splendors of the Renaissance:  Princely Attire in Italy,
Art Gallery, the Graduate Center, CCNY
10 March-24 April 2004

There also will be two historic costume sessions at the annual conference
of the the Renaissance Society of America in NYC 1-3 April.

--Robin

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Date: Fri, 12 Sep 2003 14:14:09 +0100 (BST)
From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
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Anybody know why the word 'beads' was inserted in this
text in odd spots? 


--- Ron Carnegie <r.carnegie@verizon.net> wrote: >
beads> Although Robert Graves is best known for his
> historical novels (Caligula
> beads> and the like) The White Goddess is a non
> fiction exploration of ancient
> beads> poetic language and myth.  Originally
> published in 1948 he was ,of
> beads> course, limited to the understandings of his
> time and whatever work had
> beads> been done before him, as are all of us who
> attempt to reach back into
> beads> the ancient past through what was left behind
> however scant that may be.
> beads> However the mythological sources of poetic
> images was his field of
> beads> studies and when I read it I don't recall
> that he referred to texts that
> beads> were no longer available.  He does, as any
> scholar does, interpret the
> beads> evidence and as I neither read ancient Greek,
> nor Latin, nor Welsh I
> beads> have to bow to his interpretations of these
> works.  Margaret Baird
> 


=====


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Catalina Sanabria Rosado wrote:
> Anybody know why the word 'beads' was inserted in this
> text in odd spots? 
> --- Ron Carnegie <r.carnegie@verizon.net> wrote: >
> beads> Although Robert Graves is best known for his

Something odd about Ron's email program, I'd guess.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

This is why real research isn't done from secondary sources. You never 
know where those sources have been.  -- JayUtah on the Bad Astronomy board
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Subject: Re: [h-cost] Re: JoAnn's Vegital dyed cloth
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In a message dated 9/12/03 7:33:40 AM Eastern Daylight Time, 
rmitchell@washjeff.edu writes:

> What are some of the other patterns of
> fabric that seem to be catching the imagination of some of the rest of you?
> 

There was a mainly green pattern of sinewy vines and leaves with a big 
stylized flower at even intervals.... only about 4 repeats from selvage to selvage. 
Also a red with a beige flower that appears to be block printed [the dye is 
not even in rectangles]. Also I liked a pale gold with light beige scrolling 
vines and off white leaves....but I didn't get it because there was only 4 yards.

They do appear to be 70's Indian bedspreads [some more than others] but let 
us remember what those were inspired by in the 70s.....traditional 18TH CENTURY 
INDIAN TEXTILES. It didn't start in the 70s y'know.

There were about 7 to 8 patterns to choose from here.
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This just popped up on the BBC's news site.  I know little about the 
chemistry of dying, but I thought that some might find it interesting.

"A British amateur chemist has worked out how the ancient Romans dyed the 
togas of emperors this deep colour thanks to a bacterium found in cockles 
from the supermarket Tesco. .."

http://news.bbc.co.uk/1/hi/sci/tech/3103354.stm 
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Subject: [h-cost] Home from England trip
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I have returned (and mostly recovered) from my grand England trip.  In the
interest of conserving bandwidth, I'll give a very brief overview now, and
anyone interested in an in-depth blow-by-blow can email me, and I'll send it
out to them when I get finished (or at least started) on writing it.

With the exception of going light on paintings, I saw, at least briefly,
nearly all the recommended sights, including most of 4 days spent at the
Victoria and Albert.  The only time I made it out of London was the one day
I went to Bath, and saw the Costume Museum, amongst other things.  I saw
costumes and textile related stuff all over the place -- at Kensington
Palace, in addition to the usual exhibits of presentation gowns, there were
special exhibits of several of Di's gowns, and of the Queen's hats and
handbags.  There was a much bigger costuming chunk of stuff at the Globe
than I had anticipated.  At Buckingham Palace, I saw the Queen's Coronation
gown -- exquisite!  I saw Admiral Nelson's uniform from the Battle of
Trafalgar (with the fatal bullet hole clearly visible!). I hit (and
thoroughly enjoyed) every fabric store I could get to, even though I didn't
purchase anything -- such willpower!  I think in many ways, the highlight of
the trip was the Queen Elizabeth I exhibit at Greenwich, so many, many items
I've seen all my life in pictures, with the real, actual items right there
in front of me, including the Pelican Portrait!  It was what I came to call
"a Rosetta Stone" moment.  There were so many on this trip, including seeing
*the* Rosetta Stone.

I want to thank everyone who sent me advice, reassurance, and offered help
for my trip (and I can now attest that Stevie Gamble is a terrifically
wonderful lady!).  My trip wouldn't have been as smooth or as great without
everything y'all did for me.  I am ever so grateful.

And one last great thing -- since I've been home we've run CATscans and I've
just been told that there is no sign of cancer on them!  (Pam does the happy
dance)  I get to stay completely away from doctors until my next set of
scans, in 3 months!

Pam Dotson


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Hi All,

Does anyone have any portraits of an ENGLISH woman wearing a hat like this
one? (see attachment) The woman in the portrait is Anne of Austria, Queen of
Spain c1750. I can find portraits of little caps perched on top, (like in
the 1569 unknown girl - see attached) but not the flat cap construction that
is a brim with a large circle crown that is pleated in. I'm probably just
looking in the wrong place...

Thanks!

Harlie


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>>
>ANyways ... MUCH thanks to all - one last question:  from what i hear some
>use regular sewing needles while others require special serger needles -
>is there much difference in the end result between the two?
>
When I bought my little White, the repairwoman told me that the parts of a 
serger run with such small spaces that the serger needles are important.  I 
used the wrong needles to the tune of $250 in repairs, so I always use 
serger needles on that machine now.



Jennifer Sena
Distant Designs
http://home.teleport.com/~cedric/distdesi

I wont hurt you, I just want to dress you up!!

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At 11:15 AM 9/12/2003 -0700, you wrote:
>And one last great thing -- since I've been home we've run CATscans and I've
>just been told that there is no sign of cancer on them!  (Pam does the happy
>dance)  I get to stay completely away from doctors until my next set of
>scans, in 3 months!
>
>Pam Dotson


Hi Pam

I am glad you had a great time in England. Someday I promise myself I will 
get there.

And yippee!! on the lack of cancer! That is wonderful.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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Hi again,

This item looked interesting as a costume book. Not my time period, but 
maybe for someone else.

m. leloir historie du costume vintage book
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3551346820&ssPageName=ADME:B:SS:US:1

It appears to be a French book of illustrated plates and patterns from 
Louis XVI, 1775-1795. I am amazed at the high hair fashions that is evident 
in one of the pics.

And another book for English Costumes, being sold by a UK seller.

VINTAGE BOOK---ENGLISH COSTUME---1907
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3551357083&ssPageName=ADME:B:SS:US:1

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Royal Purple
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That is just too cool!!! If only they showed a sample of what that color 
actually became. Maybe someone here can try it sometime.

Kimiko



At 09:52 AM 9/12/2003 -0700, you wrote:
>This just popped up on the BBC's news site.  I know little about the 
>chemistry of dying, but I thought that some might find it interesting.
>
>"A British amateur chemist has worked out how the ancient Romans dyed the 
>togas of emperors this deep colour thanks to a bacterium found in cockles 
>from the supermarket Tesco. .."
>
>http://news.bbc.co.uk/1/hi/sci/tech/3103354.stm




Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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> Does anyone have any portraits of an ENGLISH woman wearing a hat like
> this one? (see attachment) The woman in the portrait is Anne of
> Austria, Queen of Spain c1750. 

Unfortunately, you'll have to give us a URL as the list doesn't 
accept attachments.

One of the problems is that there are not as many people doing 
English portraits during this period. Most of the portrait painters 
were on the Continent (and only visited England for short periods of 
time.)

Kat
<kat@redtrollforge.com>


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>
When I bought my little White, the repairwoman told me that the parts of
a 
serger run with such small spaces that the serger needles are important.
I 
used the wrong needles to the tune of $250 in repairs, so I always use 
serger needles on that machine now.

THAT may very well be true for White, a brand I wouldn't buy. Unless
your manual specifies otherwise, your serger can use any of the standard
Schmetz needles.

Kim



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Kimiko Small wrote:
> That is just too cool!!! If only they showed a sample of what that color 
> actually became. Maybe someone here can try it sometime.

Yeah, I'd like to know also.  But if it wasn't the deep grapey purple 
that everyone expected, you'd think they'd've said.  Other discussions 
on this list and others would lead me to expect a reddish-purple for 
Imperial/Royal Purple.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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This page seems to be by the same chap; he's got a booklet about it all:

http://www.historicdyes.co.uk/NjgyOTc_page_2.html

There's more on the website than just this page.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Penny wrote:

>Back in June a reporter
> from the Associated Press (AP) interviewed me about the history of
pants in
> America.
......
> Here are some links to the article.  The interview with me is in the
last
> three paragraphs:
>
>
http://www.boston.com/yourlife/fashion/articles/2003/08/11/fashion_lib
erating_pants/


Well done! But what a shame they didn't get you to check the whole
article- you could have pointed out that Ginger Rogers *did* wear
pants when she danced with Fred Astaire, and caused a major fashion
stir in so doing...

best wishes,
Stevie,
embarking at random on a couple of months of h-cost mail. 1 down,
4,178 to go...

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Subject: [h-cost] RE: h-costume Digest, Senior moment
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Ron, Sorry you are of course right there.  Most of my books are packed
while I look for new digs and my memory slipped.  Apologies, Margaret


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Pam --congrats on being cancer free:) And may it stay that way!
Cheers and Best--!!
Albra

David <someone@eskimo.com> wrote:
I have returned (and mostly recovered) from my grand England trip. In the
interest of conserving bandwidth, I'll give a very brief overview now, and
anyone interested in an in-depth blow-by-blow can email me, and I'll send it
out to them when I get finished (or at least started) on writing it.

With the exception of going light on paintings, I saw, at least briefly,
nearly all the recommended sights, including most of 4 days spent at the
Victoria and Albert. The only time I made it out of London was the one day
I went to Bath, and saw the Costume Museum, amongst other things. I saw
costumes and textile related stuff all over the place -- at Kensington
Palace, in addition to the usual exhibits of presentation gowns, there were
special exhibits of several of Di's gowns, and of the Queen's hats and
handbags. There was a much bigger costuming chunk of stuff at the Globe
than I had anticipated. At Buckingham Palace, I saw the Queen's Coronation
gown -- exquisite! I saw Admiral Nelson's uniform from the Battle of
Trafalgar (with the fatal bullet hole clearly visible!). I hit (and
thoroughly enjoyed) every fabric store I could get to, even though I didn't
purchase anything -- such willpower! I think in many ways, the highlight of
the trip was the Queen Elizabeth I exhibit at Greenwich, so many, many items
I've seen all my life in pictures, with the real, actual items right there
in front of me, including the Pelican Portrait! It was what I came to call
"a Rosetta Stone" moment. There were so many on this trip, including seeing
*the* Rosetta Stone.

I want to thank everyone who sent me advice, reassurance, and offered help
for my trip (and I can now attest that Stevie Gamble is a terrifically
wonderful lady!). My trip wouldn't have been as smooth or as great without
everything y'all did for me. I am ever so grateful.

And one last great thing -- since I've been home we've run CATscans and I've
just been told that there is no sign of cancer on them! (Pam does the happy
dance) I get to stay completely away from doctors until my next set of
scans, in 3 months!

Pam Dotson


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Date: Fri, 12 Sep 2003 20:17:39 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Good news on the publications front
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Many of you know that each year, Gale Owen-Crocker and I (under the
auspices of DISTAFF) organize several sessions on medieval dress and
textiles at the Medieval Congress at Kalamazoo and the Medieval Congress
at Leeds. And many of you have asked me over the years whether you can get
published versions of the papers from these sessions, many of which
present groundbreaking new findings in this field.

I have always answered that question by explaining that the Congress does
not publish proceedings, and individual presenters are responsible for
finding publication venues on their own. However, because there is no
journal specifically devoted to dress/textiles topics of this period,
publication can be a real problem both for scholars trying to find a
publishing venue and researchers interested in their work. New findings
are often scattered piecemeal in journals in tangentially related areas
(literature, art, archaeology, women's studies, etc.) or in volumes of
"collected essays," often on some particular period or place. Too often
they go unpublished.

This situation is about to change.

Boydell and Brewer, whom many of you know as a publisher very prominent in
medieval studies and with a strong specialty in dress & textiles and
material culture topics (they've reprinted the MOL books, for instance)
are adding an academic journal, provisionally titled "Medieval Clothing &
Textiles," to their extensive journal lineup. This journal will serve the
dual purpose of providing a place for scholars in this area to publish
interdisciplinary work that doesn't fit so neatly into more standard
academic areas, and of making it easier for researchers to learn of new
scholarship in this field.

Like many of the other academic journals Boydell publishes, Medieval
Clothing and Textiles will be annual. The first volume is targeted for
publication in late 2004 or early 2005.  Each volume will cover a range of
places, periods, and disciplines - literature, art, documentary research,
archaeology, trade/economics - and will include at least one paper
concerned with experimental reconstruction of medieval techniques. It will
also be peer-reviewed, of course; at this point the editorial board
includes Frances Pritchard and John Hines from the UK, and Monica Wright,
Miranda Haddock, and Shelly Nordtorp-Madson from the US (with further
additions likely). Editors will be Gale Owen-Crocker and me.

Boydell also are quite aware that non-academics make up a good proportion
of their purchasing audience in material culture topics, so they will be
marketing the new journal equally heavily to living historians,
re-enactors, and independent scholars. (Some of you may remember me asking
on this list a few months ago for names of organizations with an interest
in this field; that was for use in our discussions with Boydell regarding
mailing lists and marketing possibilities.)

To begin with, we'll be drawing most of our papers from the DISTAFF
sessions at Kalamazoo and Leeds, which include anywhere from 12 to 18 new
papers each year. It is quite something to realize we're facing a new
journal not with the typical worry of "will we get enough papers," but of
"where will we put all the ones we have?" We have at least enough
submissions promised to fill two or three volumes already, not counting
the new ones generated from each Congress.

It looks like I will be very, very busy in the coming months. Wish us
luck! I'll keep you posted of developments. (And yes, I hope to have a
paper of my own in the first volume, assuming I pass peer review ;-) )

You are welcome to forward this announcement to appropriate lists, but
please drop me a note to tell me where it's going. I may eventually want
to send follow-up announcements, and it's useful to know who's already
heard.

--Robin
Co-Editor, Medieval Clothing & Textiles

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To: "Historical Costume" <h-costume@indra.com>
References: <000601c3796b$9cc14800$0201a8c0@kimathlon>
Subject: Re: [h-cost] Sergers
Date: Fri, 12 Sep 2003 20:51:57 -0500
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I use a White Speedylock 3-4 overlock.  It uses regular Schmetz needles.  No
problems.

Genie
----- Original Message ----- 
From: "Kim Baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Friday, September 12, 2003 3:22 PM
Subject: RE: [h-cost] Sergers


> >
> When I bought my little White, the repairwoman told me that the parts of
> a
> serger run with such small spaces that the serger needles are important.
> I
> used the wrong needles to the tune of $250 in repairs, so I always use
> serger needles on that machine now.
>
> THAT may very well be true for White, a brand I wouldn't buy. Unless
> your manual specifies otherwise, your serger can use any of the standard
> Schmetz needles.
>
> Kim
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Good news on the publications front
Date: Fri, 12 Sep 2003 22:36:07 -0400
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On Friday 12 September 2003 09:17 pm, Robin Netherton wrote:
[snip]

> Boydell and Brewer, whom many of you know as a publisher very prominent in
> medieval studies and with a strong specialty in dress & textiles and
> material culture topics (they've reprinted the MOL books, for instance)
> are adding an academic journal, provisionally titled "Medieval Clothing &
> Textiles," to their extensive journal lineup. This journal will serve the
> dual purpose of providing a place for scholars in this area to publish
> interdisciplinary work that doesn't fit so neatly into more standard
> academic areas, and of making it easier for researchers to learn of new
> scholarship in this field.


That's wonderful, Robin!  

By all means keep us updated.  I for one will be interested in subscription 
rates.

Many thanks for the advance announcement.

-- 
Cathy Raymond <cathy@thyrsus.com>

"There are only two ways of telling the complete truth--anonymously and 
posthumously."   Thomas Sowell
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Good news on the publications front
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Excellent news for everyone Robin!  Congratulations too!  I like the bit
about having at least one article about a reconstruction.  No doubt you will
keep us posted when the first edition is out.


Lisa Sinervo



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From: "Talia" <khanson@kc.rr.com>
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Subject: RE: [h-cost] Good news on the publications front
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Yes, wonderful news! I'll buy it every year in a snap, unless it costs some
obscene amount of money...

Talia


> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lisa Sinervo
> Sent: Friday, September 12, 2003 9:39 PM
> To: Historical Costume
> Subject: Re: [h-cost] Good news on the publications front
>
>
> Excellent news for everyone Robin!  Congratulations too!  I like the bit
> about having at least one article about a reconstruction.  No
> doubt you will
> keep us posted when the first edition is out.
>
>
> Lisa Sinervo
>
>
>
> _______________________________________________
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	<002b01c37922$271d81c0$6c5183d1@rmitchellras><10c.29220cea.2c908b85@aol.com><002b01c37922$271d81c0$6c5183d1@rmitchellras><5.2.1.1.0.20030912121318.02e44408@64.87.54.245>
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Subject: Re: [h-cost] Royal Purple
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<Yeah, I'd like to know also.  But if it wasn't the deep grapey purple
that everyone expected, you'd think they'd've said.  Other discussions
on this list and others would lead me to expect a reddish-purple for
Imperial/Royal Purple.>>

I wonder how much the extant royal purple dyed garments/items have faded or
changed colour over the course of time.

I know people talk about looking at the backs of embroideried to see the
much brighter possibly real colour they were when made.

Didn't Eleanora di Toledo's gown change colour and not just by fading, but
base colour too? And wasn't it that it changed once the gown had been
recoved? Not while it was still underground?

michaela
http://costumes.glittersweet.com


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Good news on the publications front
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On Fri, 12 Sep 2003, Talia wrote:

> Yes, wonderful news! I'll buy it every year in a snap, unless it costs
> some obscene amount of money...

One of the things we're still negotiating with the publisher is format,
which governs price. Normally these journals are hardbound, which means
their primary audience is university/college libraries; academics request
their institutional library to order a copy. However, a disproportionate
number of dress/textile researchers and enthusiasts are non-academics or
independent scholars, who must purchase their own copies using their own
funds. 

For this reason, we've strongly suggested that Boydell consider issuing
the journal in paperback. If they sell in hardback, they may end up
encouraging people to just ILL and Xerox rather than buying their own
copies ... but they don't have to sell nearly as many to make back
publishing costs. If they go for paper, they would need to sell perhaps
twice as many paperbacks to break even. So the question is whether the
lower price would translate into sufficient increased sales.

The difference might be as much as $40 for a paperback vs. $75 for a
hardback. I'd personally like to know how many people reading this would
buy it in either case, how many would buy only at the paperback price, and
how many would want it but wouldn't buy it at either price. Respond to me
directly, not to the list, and only if you're a serious prospective
customer.

--Robin


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Well, as the most serious customer on the list (I buy in wholesale quantities), the cheaper paperback would be much better.  Brewer & Boydell publish wonderful books, but even their paperbacks are too expensive.  However, the desire for books on this topic is so great, that they will probably sell quite well.  Both last year (when it first came out) and this year (when I thought most people would already have a copy), The Medieval Tailor's Assistant has been my best-selling book.  

I don't know if I'll order from them before KWCS, but if I do, I'll try to talk to somebody with some decision-making input and remind her of how well medieval costuming books sell.  I've made a nuisance of myself before with them on this topic and I'm glad to see that my nagging them has born some fruit.

Janet

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com 
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> Sorry for a second posting, but I would really like to find this site 
> again. Someone had posted a site that sold bras. The site did not carry 
> the "name" brand bras. It was not "Decent Exposures" either. The bras 
> were somewhat expensive, but very quality. I've searched the archives 
> and googled until I'm all "searched-out." If you have any suggestions, 
> please forward them.

Maybe Big Girls Bras?
http://www.biggerbras.com/

I know that's where I pointed people looking for front-closure and
velcro-closure bras.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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> From: "Margaret Baird " <beads@traknet.com>
> 
> Although Robert Graves is best known for his historical novels (Caligula
> and the like) The White Goddess is a non fiction exploration of ancient
> poetic language and myth.  Originally published in 1948 he was ,of
> course, limited to the understandings of his time and whatever work had
> been done before him, as are all of us who attempt to reach back into
> the ancient past through what was left behind however scant that may be.
> However the mythological sources of poetic images was his field of
> studies and when I read it I don't recall that he referred to texts that
> were no longer available.  He does, as any scholar does, interpret the
> evidence and as I neither read ancient Greek, nor Latin, nor Welsh I
> have to bow to his interpretations of these works.  Margaret Baird

Most scholars consider "The White Goddess" to be a work of fiction these
days.  Ronald Hutton's chapter on Graves in "Triumph of the Moon" is 
especially illuminating.  Graves really did use the "if you don't know,
make something up" method of writing for "The White Goddess."  Two other
popular but sadly-outdated authors to beware of are Marija Gimbutas and
Robert Campbell (his stuff on archetypes is interesting, but it's neither
archeology nor psychology).  And any author who claims that there was a Great
Mother Goddess cult that spread all across Eurasia needs to go back and
read current archeological research (which does not support that claim).

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Robin I forwarded your announcement to the Kingdom of Aethelmearc mailing 
list.
address:<A HREF="mailto:sca-aethelmearc@andrew.cmu.edu">sca-aethelmearc@andrew.cmu.edu</A>  
Elisabeth

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Subject: [h-cost] Simplicity pattern 5359
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I just bought this pattern (Simplicity 5359 - Fantasy Belly dancer type outfit) and I noticed that the picture of outfit A on the front of the package is different than what the directions describe.  It appears that there are either two contrasting colored "strips" on either side of the skirt, or some type of overskirt in the picture; however, in the directions and on the back of the package, it shows the skirt with a ruffle at the bottom and no "strips" or overskirt.  Has anyone else bought and/or made this outfit? Has anyone else notice this difference in the skirt? I like the one on the front of the package, but the directions do not show how to make the skirt this way.


Thanks,


                  ,%%%,
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Joan Broneske          ||       `>> >     unicorn@surewest.net
                        ||       ///`
                       /(      //(
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Simplicity pattern 5359
Date: Sat, 13 Sep 2003 21:09:01 -0700
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I'm making this in purple gold and silver for my daughter.  Skirt A is eight 
panels with a ruffle that matches half of them.  It gives the illusion of an 
overpanel skirt without two waisbands.   It took me all evening to figure it 
for sure.  I'm thinking of making the skirt solid and adding hemmed 
overpanels that are Not sewn into side seams.  The picture gives the right 
illusion, but up close I think it would be odd/off.



Jennifer Sena
Distant Designs
http://home.teleport.com/~cedric/distdesi

I wont hurt you, I just want to dress you up!!





>From: "Joan Broneske" <unicorn@surewest.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: "H-Costume" <h-costume@indra.com>
>Subject: [h-cost] Simplicity pattern 5359
>Date: Sat, 13 Sep 2003 20:26:11 -0700
>
>I just bought this pattern (Simplicity 5359 - Fantasy Belly dancer type 
>outfit) and I noticed that the picture of outfit A on the front of the 
>package is different than what the directions describe.  It appears that 
>there are either two contrasting colored "strips" on either side of the 
>skirt, or some type of overskirt in the picture; however, in the directions 
>and on the back of the package, it shows the skirt with a ruffle at the 
>bottom and no "strips" or overskirt.  Has anyone else bought and/or made 
>this outfit? Has anyone else notice this difference in the skirt? I like 
>the one on the front of the package, but the directions do not show how to 
>make the skirt this way.
>
>
>Thanks,
>
>
>                   ,%%%,
>              --==% `%%%,
>                  |' )`%%,
>                  \_/\ @%%,
>                    __@@" %%%--"""-.%,
>                   /`__|             \%%
>                   \\  \   /   |     /'%,
>                    \]  | /----'.   < `%,
>Joan Broneske          ||       `>> >     unicorn@surewest.net
>                         ||       ///`
>                        /(      //(
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Sun Sep 14 00:26:50 2003
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From: "Sheridan & Shane" <shooie@sprint.ca>
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References: <20030829004101.15202.qmail@web10406.mail.yahoo.com>
Subject: Re: [h-cost] simplicty #5359 - what is it?
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----- Original Message -----
From: "Claudine Wong Sent: Thursday, August 28, 2003 8:41 PM
Subject: [h-cost] simplicty #5359 - what is it?


> Hello everyone,
>
> I'm de-lurking for the first time because I'm sure
> someone on the list can answer my question. Patterns
> were on sale at Jo-ann, so I picked up this one:
>
> http://www.simplicity.com/assets/5359/5359.jpg
>
> I think the outfit on the left is really neat, but am
> wondering what in real life it is based on. I did a
> little searching on the web but haven't seen anything
> that looks quite like this (ignoring the fabrics and
> colors, I'm talking about he combination: puffy
> panteloons, skirt, gathered blouse, vest, and
> girdle-thingy). Have any of you seen such an outfit,
> either historical or ethnic, or is it just fantasy?
>
>
>
>
> Thanks bunches,
> Claudine


Hi!

This is a rather late posting on this topic, my monitor set itself on fire
about a week before your original post, and I finally replaced it yesterday!
After wading through all of my backlogged email I finally have a chance to
give you my two bits on this. :-)

This is definitely a hodge-podge of different ethnic/timeline/fantasy/real
garments. As stated in other posts, some are Indian, Greek and Turkish. This
would be a useful pattern for people just starting into costuming for
American Tribal dance or for a more modest 'bellydance' costume. (My first
dance costume was a variation on the choli top shown in this pattern paired
with a full skirt and an overskirt with a handkerchief hem, bright blue and
gold)

The picture with the 'harem' pants and skirt looks like the designers
interpretation of a whirling costume. (As in whirling Dervish) The skirts I
have tried on were patterend in a similar fashion as the one in the picture,
with the addition of yards of heavy iron chain sewn into the hem to make it
stand almost straight out when you spin. I have seen girls wear these skirts
in pairs, and while they spin take the top skirt unhook it and move it up
over their heads, looks lovely with the multi colours of the panels. The
girls I danced with wore a narrower A-line skirt underneath the whirling
skirts, but salwar or 'harem' pants would likely work as well. Timeline for
that kind of an outfit would be the last century or so.

(Note on 'harem' pants: the very poofy 'harem' pants are a late Ottoman
empire style, post 1700. Prior to that the pants could be quite narrow, at
least around the lower leg.)

Over all, this is a wonderful start for a dance/haloween/fantasy costume but
as a historical garment, the various bits are documentable but not as an
entire outfit.That is unless you were copying an Orientalist painting or
vintage Victorian/Edwardian postcard, which were an European fantasy of the
Near East.

Hope that helps! :-)

Sheridan



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From: "Sheridan & Shane" <shooie@sprint.ca>
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Subject: [h-cost] Looking for:
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Sorry, this is slightly off topic, but it does have to do with costuming.
:-)

Is anyone on this list in the Toronto area?

I have recently moved to Ontario and I am looking for supplies to make dance
costumes. Specifically sequinned appliques, coins and beaded fringe. I would
like to know if anyone has come accross anything along those lines in their
shopping excursions.

Any info is helpful!

Thanks in advance,

Sheridan

*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Thought For The Day:
There is a very fine line between 'Hobby'
and 'Mental Illness'



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From h-costume-bounces@indra.com  Sun Sep 14 07:53:50 2003
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: [h-cost] Digital Egypt for Universities
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Hi all,

I'm not sure whether this project has been mentioned before, but
people interested in  Egyptian costume might like to look at:

http://www.digitalegypt.ucl.ac.uk/

for a vast amount of cross referenced information on all aspects of
Egyptian life...

best wishes

Stevie

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To: "Historical Costume" <h-costume@indra.com>
References: <003c01c37a78$4f01fb60$cb6afea9@shooie>
Subject: Re: [h-cost] Looking for:
Date: Sun, 14 Sep 2003 08:38:32 -0400
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I don't know any sources for the items you seek. However, I was recently in
the Toronto area for a couple of days and found a great fabric store. I was
teaching at the Humber River Medical Center and it was in a mall right very
close by it. I want to say that it was called Fabricland. In fact, I am
almost positive that was the name of the store. It was in a tiny mall.
Anyway, the store was big and they were having a huge sale on their
upholstery and drapery fabric. I almost needed a second suitcase to come
home. They had gorgeous double wide damask (108") for $12 Canadian!

----- Original Message -----
From: "Sheridan & Shane" <shooie@sprint.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, September 14, 2003 12:23 AM
Subject: [h-cost] Looking for:


> Sorry, this is slightly off topic, but it does have to do with costuming.
> :-)
>
> Is anyone on this list in the Toronto area?
>
> I have recently moved to Ontario and I am looking for supplies to make
dance
> costumes. Specifically sequinned appliques, coins and beaded fringe. I
would
> like to know if anyone has come accross anything along those lines in
their
> shopping excursions.
>
> Any info is helpful!
>
> Thanks in advance,
>
> Sheridan
>
> *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
> Thought For The Day:
> There is a very fine line between 'Hobby'
> and 'Mental Illness'
>
>
>
> _______________________________________________
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>

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From h-costume-bounces@indra.com  Mon Sep 15 09:01:16 2003
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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] Looking for:
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Status: RO

The coins and beaded fringe could probably be found at bellydance
suppliers. I did a web search for "Toronto coins and beaded fringe"
  & found this results:

http://www.mayada.ca/torontosc.htm
It recommends this place for some supplies:
ARABESQUE BOUTIQUE
20 College St.
Toronto, Ontario
416-920-5593

If nothing else, the people there should be able to give you the
names of a few more places to try.

Sheryl Nance-Durst

At 12:23 AM 9/14/03 -0400, you wrote:
>Is anyone on this list in the Toronto area?
>
>I have recently moved to Ontario and I am looking for supplies to make dance
>costumes. Specifically sequinned appliques, coins and beaded fringe. I would
>like to know if anyone has come accross anything along those lines in their
>shopping excursions.
>
>Any info is helpful!
>
>Thanks in advance,
>
>Sheridan



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From h-costume-bounces@indra.com  Mon Sep 15 10:23:14 2003
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Eleonora's Dress
To: Historical Costume <h-costume@indra.com>
In-Reply-To: <005201c3799e$ab6ac240$70ccadcb@michaela>
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Status: RO

In fact, Eleonora was buried in a red satin and velvet
gown, which was richly embroidered. According to the
account of the opening of her tomb in 1857, she was
found to have been buried wearing the gold and pearl
hairnet seen in the better known Bronzino portrait,
which may account for the misunderstanding that she
was buried in the black velvet on white satin dress.
There is another potrait of her attributed to Bronzino
in a red dress which probably is the red dress she was
buried in. The dress apparently was darker in the tomb
than the painting, and may have faded after the tomb
was opened.  
The Museo Nazionale del Bargello possesses two
textiles manufactured in mid-16th-century Florence
that are remarkably similar to the fabric of the more
famous gown. However, the pieces are described as
silver and white silk, with a design in green cut
velvet, and gold and silver brocades.

 --- michaela <thebruce@ihug.co.nz> wrote: > <Yeah, > 
> Didn't Eleanora di Toledo's gown change colour and
> not just by fading, but
> base colour too? And wasn't it that it changed once
> the gown had been
> recoved? Not while it was still underground?


=====


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From h-costume-bounces@indra.com  Mon Sep 15 11:21:03 2003
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From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: Re: [h-cost] Eleonora's Dress
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Status: RO

Where did you get this information?
This is not what Janet Arnold says.
She says that they wrote that she was buried in "raso bianco" white satin.
And the dress is now discoloured to a pale golden Yellow.
I don't understand why people say that this dress looks like the white 
dress in the painting.
The portrait I have found from Eleonora in a red dress with probably 
embroidery on it, doesn't look like the one she is burried in.
The pattern looks totally different
http://www.marquise.de/en/1500/pics/1560_1.shtml
Is there an other painting of her in a red dress?

I really would like to know.
Greetings,
        Deredere


Catalina Sanabria Rosado wrote:

>In fact, Eleonora was buried in a red satin and velvet
>gown, which was richly embroidered. According to the
>account of the opening of her tomb in 1857, she was
>found to have been buried wearing the gold and pearl
>hairnet seen in the better known Bronzino portrait,
>which may account for the misunderstanding that she
>was buried in the black velvet on white satin dress.
>There is another potrait of her attributed to Bronzino
>in a red dress which probably is the red dress she was
>buried in. The dress apparently was darker in the tomb
>than the painting, and may have faded after the tomb
>was opened.  
>The Museo Nazionale del Bargello possesses two
>textiles manufactured in mid-16th-century Florence
>that are remarkably similar to the fabric of the more
>famous gown. However, the pieces are described as
>silver and white silk, with a design in green cut
>velvet, and gold and silver brocades.
>
> --- michaela <thebruce@ihug.co.nz> wrote: > <Yeah, > 
>  
>
>>Didn't Eleanora di Toledo's gown change colour and
>>not just by fading, but
>>base colour too? And wasn't it that it changed once
>>the gown had been
>>recoved? Not while it was still underground?
>>    
>>
>
>
>=====
>
>
>________________________________________________________________________
>Want to chat instantly with your online friends?  Get the FREE Yahoo!
>Messenger http://mail.messenger.yahoo.co.uk
>_______________________________________________
>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  Mon Sep 15 13:24:25 2003
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From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: [h-cost] More pictures of my 16th century dress
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Hi,

I wore the dress yesterday to an archery competition (and won second 
prize :-) ).
The front of the dress is still wrinkeling but the back isn't.
It is a little too long and not stif enough.
The headweare is a piece that looks a lot like a french hood but is 
lower and doesn' go over the ears.
http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html

This was the first time I wore my new corset for a whole day and it was 
so comfortable!!!!!!
I made the corset from the book of Janet Arnold Patterns of fashion.
You can see some pictures of the fhirst version on this page.
http://www.deredere.dds.nl/Bluedress/Bluedress.html
This one was too big on the top and to small at the waist.
And a smaal piece of the schoulderstraps were placed the wrong way.

Greetings,
        Deredere


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Subject: Re: [h-cost] Eleonora's Dress
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On 16:22 15/09/2003 Deredere Galbraith said

>Where did you get this information?
>This is not what Janet Arnold says.
>She says that they wrote that she was buried in "raso bianco" white satin.
>And the dress is now discoloured to a pale golden Yellow.
>I don't understand why people say that this dress looks like the white 
>dress in the painting.
>The portrait I have found from Eleonora in a red dress with probably 
>embroidery on it, doesn't look like the one she is burried in.
>The pattern looks totally different
>http://www.marquise.de/en/1500/pics/1560_1.shtml
>Is there an other painting of her in a red dress?

I think it's this gown that she was buried in
http://www.televisual.it/ppl/eleonor1.html


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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From h-costume-bounces@indra.com  Mon Sep 15 17:24:23 2003
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From: "Cindy Abel" <brujne@creighton.edu>
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Date: Mon, 15 Sep 2003 16:23:25 -0500
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Subject: [h-cost] Blue dotted swiss use
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For the person who was looking for an example of blue dotted Swiss with a
white background. It may not be exactly the same, but a fashion plate from
The Gallery of Fashion, August 1799 issue shows two models in mostly white
outfits. The fashions shown in this journal that ran from 1794-1804 were
"really existing ones" according to the publication "blurb" In this August
1799 plate, reproduced in my copy of "Jane Austen Fashion" by Penelope Byrd
that I bought via Amazon.com.uk over two years ago this plate (is reproduced
much smaller than the original plates but in color)the model on the right
wears a white day gown spotted in blue, yellow gloves and a close-fitting
cap. The spots/dots as illustrated are not as dense as on modern dotted
Swiss, but there may be artistic license involved.  The plates were
hand-colored for each plate(usually two per issue)for each issue
sold(scholars have approximated anywhere from 300+-800+ copies of each issue
printed per month, so the more detail and the more colors to be applied, the
more labor-intensive the plate.) The dress itself has a waistline slightly
below the bust, but lower than what we call "Empire" and it has a slight
point down at center front--kind of a raised waist.

The fashions in this journal, published during a time of a real dearth of
fashion publications(France was just coming out of "The Terror" in early
1794 and good French citizens were in general still wary of paying too much
attention to fashion apart from a very few women attached to those in the
highest government positions, for several more years)may be suprising to
those who think that all women threw off all previous layers of fashion,
apart from a chemise, a flimsy white gown, and a cashmere shawl. Most of the
fashions up to 1801 or so, have a waistline that varies fashion to fashion
and year to year from "Empire" to just above the normal waist, with belts
and sashes confusing the issue as to just where a gown's waistline was.
Sleeves were generally long or 3/4 and very often doubled to show the lower
portion of undersleeve. It is clear that a chemise and at least one or more
petticoats were worn underneath with stockings and shoes(not sandals and toe
rings as the highest of the ton in Paris were supposedly tripping about in).
Gloves, shawls, and properly filled in necklines as well as headgear were a
must as was some back padding below the waistline underneath these gowns and
petticoats. Most of the headgear was as imaginative as anything paraded down
catwalks during Fashion Week today, and the English weather made
umbrellas(usually green)or pelisses and fur muffs and sometimes narrow
little stoles more a necessaty than an affectation decreed by Dame Fashion.

Sachevelli Sitwell in his 1940's little history of the Gallery of Fashion,
theorized that probably the plates were hand-colored by girls or women and
that the plates were colored assembly line fashion with each employee
responsible for one color only, with one or two other "specialists" who
applied the more expensive silver-gilt and gold-gilt paint to details like
jewelry or metal accents on each plate. This included metal details on
horses bridles and vechicles and background.

Hope this helps.

Cindy Abel

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From h-costume-bounces@indra.com  Mon Sep 15 18:46:58 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Eleonora's Dress
Date: Mon, 15 Sep 2003 15:46:24 -0700
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This topic comes up every few years.  Neither of these dresses are the one
in Arnold.  I'll poke around for a copy of the painting of it.  The dress is
a rose color and has the bands and construction in Arnold.

>http://www.marquise.de/en/1500/pics/1560_1.shtml

I think it's this gown that she was buried in
http://www.televisual.it/ppl/eleonor1.html




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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Eleonora's Dress
Date: Mon, 15 Sep 2003 15:55:31 -0700
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If you have a copy of The Pictoral Encyclopedia of Fashion by Ludmila
Kybalova, there is a picture on page 345.  This painting is by Angelo
Bronzino and is (was?) in the Nardoni Galerie, Prague.  If you can't find it
online, I will scan it and put it up on my website for a period of time.
(Don't want to get into trouble!)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Saragrace T. Knauf
Sent: Monday, September 15, 2003 3:46 PM
To: 'Historical Costume'
Subject: RE: [h-cost] Eleonora's Dress

This topic comes up every few years.  Neither of these dresses are the one
in Arnold.  I'll poke around for a copy of the painting of it.  The dress is
a rose color and has the bands and construction in Arnold.

>http://www.marquise.de/en/1500/pics/1560_1.shtml

I think it's this gown that she was buried in
http://www.televisual.it/ppl/eleonor1.html




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From h-costume-bounces@indra.com  Mon Sep 15 19:00:32 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Eleonora's Dress
Date: Mon, 15 Sep 2003 16:00:03 -0700
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While looking for the below mentioned picture I came across another which
I'd not seen before.  http://reisserbilder.at/en/index.asp?aid=1106
This looks like the same dress one of the previously listed posts, but the
colors are different.  This is NOT the one in the book below.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Saragrace T. Knauf
Sent: Monday, September 15, 2003 3:56 PM
To: 'Historical Costume'
Subject: RE: [h-cost] Eleonora's Dress

If you have a copy of The Pictoral Encyclopedia of Fashion by Ludmila
Kybalova, there is a picture on page 345.  This painting is by Angelo
Bronzino and is (was?) in the Nardoni Galerie, Prague.  If you can't find it
online, I will scan it and put it up on my website for a period of time.
(Don't want to get into trouble!)



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From h-costume-bounces@indra.com  Mon Sep 15 19:43:25 2003
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Subject: [h-cost] Re: Eleonora's Dress (scan)
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Greetings Saragrace.

I've already got it scanned. It's up temporarily at:
http://www.geocities.com/brendoken/eleanora.html

This image is better than in the Pictoral Encyclopedia of Fashion. It
is from a newer book called "Bronzino's Chapel of Eleonora in the
Palazzo Vecchio," by Janet Cox-Rearick, published in 1993. Since I
love Bronzino so much, a friend thought I needed to own the book--so
she got it for me for my birthday!

Kate

----- Original Message -----
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Monday, September 15, 2003 6:55 PM
Subject: RE: [h-cost] Eleonora's Dress


> If you have a copy of The Pictoral Encyclopedia of Fashion by
Ludmila
> Kybalova, there is a picture on page 345.  This painting is by
Angelo
> Bronzino and is (was?) in the Nardoni Galerie, Prague.  If you can't
find it
> online, I will scan it and put it up on my website for a period of
time.
> (Don't want to get into trouble!)

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Eleonora's Dress (scan)
Date: Mon, 15 Sep 2003 16:47:06 -0700
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Oh this is a MUCH better copy!  Thanks!  (I snagged it; I promise not to
share it).

Sg

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of ailith
Sent: Monday, September 15, 2003 4:42 PM
To: Historical Costume
Subject: [h-cost] Re: Eleonora's Dress (scan)

Greetings Saragrace.

I've already got it scanned. It's up temporarily at:
http://www.geocities.com/brendoken/eleanora.html

This image is better than in the Pictoral Encyclopedia of Fashion. It
is from a newer book called "Bronzino's Chapel of Eleonora in the
Palazzo Vecchio," by Janet Cox-Rearick, published in 1993. Since I
love Bronzino so much, a friend thought I needed to own the book--so
she got it for me for my birthday!

Kate

----- Original Message -----
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Monday, September 15, 2003 6:55 PM
Subject: RE: [h-cost] Eleonora's Dress


> If you have a copy of The Pictoral Encyclopedia of Fashion by
Ludmila
> Kybalova, there is a picture on page 345.  This painting is by
Angelo
> Bronzino and is (was?) in the Nardoni Galerie, Prague.  If you can't
find it
> online, I will scan it and put it up on my website for a period of
time.
> (Don't want to get into trouble!)

_______________________________________________
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  Mon Sep 15 21:41:05 2003
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To: Historical Costume <h-costume@indra.com>
From: David Webb <alderweb@vaxxine.com>
Subject: Re: [h-cost] Looking for:
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Hello from another Canadian Sheridan!:

Have you tried MacDonald and Faber ?:

  DALE SONIER
MACDONALD FABER
952 QUEEN ST WEST
TORONTO, ON
M6J 1G8
PHONE: (416) 534-3940
CALL FOR FREE @ I 877 NOTIONS(668-4667)
FAX: (416) 534-4187
EMAIL: macfab@on.aibn.com
httphttp://www.macdonaldfaber.com

My personal little heaven is Designer Fabrics, also on Queen Street, in the 
Parkdale area.
Designer Fabrics & Designer Fabric Outlet
1360 Queen Street West
Toronto, Ontario
M6K 1L7
Phone: (416) 531-2810
Fax: (416) 531-4114
http://www.designerfabrics.ca/

Sheridan Alder

At 12:23 AM 14/09/2003 -0400, you wrote:
>Sorry, this is slightly off topic, but it does have to do with costuming.
>:-)
>
>Is anyone on this list in the Toronto area?
>
>I have recently moved to Ontario and I am looking for supplies to make dance
>costumes. Specifically sequinned appliques, coins and beaded fringe. I would
>like to know if anyone has come accross anything along those lines in their
>shopping excursions.
>
>Any info is helpful!
>
>Thanks in advance,
>
>Sheridan
>
>*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
>Thought For The Day:
>There is a very fine line between 'Hobby'
>and 'Mental Illness'
>
>
>
>_______________________________________________
>h-costume mailing list
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From h-costume-bounces@indra.com  Mon Sep 15 21:49:27 2003
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Eleonora's Dress (scan)
Date: Mon, 15 Sep 2003 18:50:49 -0700
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This portrait and the other you mentioned at:
>http://www.marquise.de/en/1500/pics/1560_1.shtml
always break my heart.  Eleonora looks so tired and sad.  I gather she was
dying even then.  Of course I have the romantic idea that Bronzino loved the
great lady that he painted so often.  Even in these paintings which show her
as an older and dying woman she has a quality about her.  Of course the
cynic may say that was what he was paid for, and anything else would have
seen him packing his workshop, but I prefer the idea that she was his great
lady.

I just ordered a new book "Bronzino" by Maurice Brock, published in 2002
from Amazon.com.  The no shipping charge made it cheaper than buying one of
the used copies.  I also utilized Interlibrary Loan to get the Bronzino's
Chapel of Eleonora that Kate mentioned.  I do so love living in a small city
with a great county library!

Regina Romsey
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of ailith
> Sent: Monday, September 15, 2003 4:42 PM
> To: Historical Costume
> Subject: [h-cost] Re: Eleonora's Dress (scan)
>
> Greetings Saragrace.
>
> I've already got it scanned. It's up temporarily at:
> http://www.geocities.com/brendoken/eleanora.html
>
> This image is better than in the Pictoral Encyclopedia of Fashion. It
> is from a newer book called "Bronzino's Chapel of Eleonora in the
> Palazzo Vecchio," by Janet Cox-Rearick, published in 1993. Since I
> love Bronzino so much, a friend thought I needed to own the book--so
> she got it for me for my birthday!
>
> Kate
>


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From h-costume-bounces@indra.com  Mon Sep 15 21:59:51 2003
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From: "Sheridan & Shane" <shooie@sprint.ca>
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Hi everyone!

Thanks for the addresses, I'm actually up in Sudbury which is why I was
asking for any favorites/specifically known locations. I'll be having to
drive down for shopping, so it's good to have an idea of where to start.

Last spring when I came from Saskatoon for a visit to Oakville, we did a day
trip and hit Kensington and the Sari district. Did a fair amount of damage
in the Sari shops, let me tell you! Now that we are settled in and my sewing
room is set up its time to re-stock my fabric piles.

Once again thanks everyone for the info!

Sheridan



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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Eleonora's Dress (scan)
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Hi Wanda, I am interested in what you are saying here, but am not following
it...

"Of course the cynic may say that was what he was paid for, and anything
else would have seen him packing his workshop"

Sg

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From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Eleonora's Dress
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Deredere Galbraith wrote:
> Where did you get this information?
> This is not what Janet Arnold says.
> She says that they wrote that she was buried in "raso bianco" white satin.
> And the dress is now discoloured to a pale golden Yellow....
> 
> Catalina Sanabria Rosado wrote:
> 
>> In fact, Eleonora was buried in a red satin and velvet
>> gown, which was richly embroidered....

I looked at the Arnold book last night. She says Eleanora was buried 
wearing two gowns. The white satin one with the embroidered guards on 
the front which may have originally come from another (possibly black 
velvet dress) and a red velvet and satin undergown. According to her 
description the red velvet dress was not embroidered. She shows a sketch 
of the bodice and it is quite plain. The skirt to it is missing.

Also, according to her notes the corpse was not identified in the tomb, 
but merely "believed" to be that of Eleanora based on the clothing she 
was wearing since it resembled some of her portraits.



Dawn



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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Eleonora's Dress
Date: Tue, 16 Sep 2003 11:09:11 -0700
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Hmm, good detective work.   I guess none of the portraits are of the burial
gown.  The rose one, now that I look at it doesn't have the center guard and
the guards are less complex.  

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Dawn
Sent: Tuesday, September 16, 2003 8:20 AM
To: Historical Costume
Subject: Re: [h-cost] Eleonora's Dress

Deredere Galbraith wrote:
> Where did you get this information?
> This is not what Janet Arnold says.
> She says that they wrote that she was buried in "raso bianco" white satin.
> And the dress is now discoloured to a pale golden Yellow....
> 
> Catalina Sanabria Rosado wrote:
> 
>> In fact, Eleonora was buried in a red satin and velvet
>> gown, which was richly embroidered....

I looked at the Arnold book last night. She says Eleanora was buried 
wearing two gowns. The white satin one with the embroidered guards on 
the front which may have originally come from another (possibly black 
velvet dress) and a red velvet and satin undergown. According to her 
description the red velvet dress was not embroidered. She shows a sketch 
of the bodice and it is quite plain. The skirt to it is missing.

Also, according to her notes the corpse was not identified in the tomb, 
but merely "believed" to be that of Eleanora based on the clothing she 
was wearing since it resembled some of her portraits.



Dawn



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From h-costume-bounces@indra.com  Tue Sep 16 22:07:01 2003
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Eleonora's Dress (scan)
Date: Tue, 16 Sep 2003 19:07:09 -0700
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I only meant that Bronzino was certainly well paid for his likenesses of
Eleonora, the matriarch of the Medici clan.  Painters certainly went out of
their way then, as photographer's do now to flatter their sitters.  Possibly
if he had portrayed her as wrinkled, sagging, or old he would have been
sacked and other patrons would have avoided him like the plague.  On the
other hand, I prefer to believe that he loved and respected a great lady who
had been his patroness since she was a young mother.

Wanda

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Saragrace T. Knauf
> Sent: Monday, September 15, 2003 8:00 PM
> To: 'Historical Costume'
> Subject: RE: [h-cost] Re: Eleonora's Dress (scan)
>
>
> Hi Wanda, I am interested in what you are saying here, but am not
> following
> it...
>
> "Of course the cynic may say that was what he was paid for, and anything
> else would have seen him packing his workshop"
>
> Sg
>
> _______________________________________________
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>


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From h-costume-bounces@indra.com  Wed Sep 17 09:24:59 2003
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Subject: [h-cost] antique hoops
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Among my 19th C hoops, are three mid century models.  Two of these have buttonholes in the waist tapes.  What garment would have bourn the weight with buttons? The petticoat?  Corset cover?  corset?  The two also have a leather 'placket' that was either tied or laced at the center front.  My take on this style is that they would better accommodate a belly of "age", or condition.
Any comments or help greatly appreciated.
Kathleen 
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From: Hope Greeenberg <hope.greenberg@uvm.edu>
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Subject: [h-cost] More Tudor Hats
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Last week we had an interesting discussion about Tudor hats. I decided 
to look some up and post a few images. You'll find some bonnets for both 
men and women at:
http://www.uvm.edu/~hag/sca/tudor/bonnet.html

Enjoy!

- Hope

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> Greetings Saragrace.
>
> I've already got it scanned. It's up temporarily at:
> http://www.geocities.com/brendoken/eleanora.html
>
> This image is better than in the Pictoral Encyclopedia of Fashion. It is
> from a newer book called "Bronzino's Chapel of Eleonora in the
> Palazzo Vecchio," by Janet Cox-Rearick, published in 1993. Since I love
> Bronzino so much, a friend thought I needed to own the book--so she got
> it for me for my birthday!

This is a great picture!

But my first reaction at seeing it was--it's a copy.  It wasn't uncommon,
from what I understand, to copy paintings and/or change the features of a
painting within a school of artists.   For example, there are four copies
if the Eleanora wedding dress, one of which is in a small museum in
Sacramento, California.

 The reason why I get the impression that this is a copy is twofold--one
is that her face is exactly the same as in the wedding portrait (white
satin dress)

http://cgfa.sunsite.dk/bronzino/p-bronzino4.htm

 and second is that the pose is exactly the same as a portrait that
Bronzino did of a young girl with a prayer book

http://cgfa.sunsite.dk/bronzino/p-bronzino16.htm

I am not trying to burst anybody's bubble with this info, I just don't
think that we should use the portrait as primary evidence if it is truly
not a portrait done with the artitst and subject in the same room.

Respectfully,

Diana




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Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
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dch@inreach.com wrote:
> I just don't
> think that we should use the portrait as primary evidence if it is truly
> not a portrait done with the artitst and subject in the same room.

On the other hand, it is held as "common knowledge" (in art classes) 
that many portrait paintings were done in several stages -- with the 
person portrayed actually in front of the painter for a short time. 
Details of the clothing might be added later, in a session with just the 
clothing on a manniquin or lower-rank person.

Several hundred years later, I expect even a full-time art historian 
would not have access to the work-diary of an artist, to know if Lady X 
was there the whole time, or if he might have made some things up.  A 
painter of the time was probably quite familiar with how clothing was 
supposed to look, so even his inventions would be fairly accurate.

So I believe there's only so fine a line you can draw in most cases -- 
"Is this portrait contemporary with the person portrayed?"  Much finer 
than that is probably impossible from this era.

On a tangential quibble, it is my understanding that a portrait cannot 
be considered primary source for anything other than portraits 
themselves.  An actual dress is the primary source for a dress; a 
picture of a dress is a secondary source for a dress.

Mind you, a contemporary portrait is usually an excellent source, it's 
just not a primary one.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If you're constantly expanding, you never wrinkle!  -- Sherman's Lagoon
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Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
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---- Original Message -----
From: <dch@inreach.com>
To: <h-costume@indra.com>
Sent: Wednesday, September 17, 2003 8:43 AM
Subject: Re: [h-cost] Re: Eleonora's Dress (scan)


>  For example, there are four copies
> if the Eleanora wedding dress, one of which is in a small museum in
> Sacramento, California.
>

Ok, ruffled feathers here.  You are speaking of the Crocker, which is
considered one of the finest art museum in Northern California.  It may not
be the largest museum in the state, but it is one of the best.  Also a
little known fact is the Crocker also holds the one of the largest
collections of clothing covering the history of California ranging from the
1800's to modern day.  Now if they would just put the whole lot on the web.

Stephen Bergdahl

One thing you got to say about the Republicans, they don't give up easily.
Impeach Clinton, steal Florida, redistrict Texas, recall Davis.  You know
what , these guys had better watch out or they're going to get slapped with
the reputation of being extremely sore losers.

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Hello -

Cynthia is quite right in stating -
"that many portrait paintings were done in several stages -- with the 
person portrayed actually in front of the painter for a short time. Details 
of the clothing might be added later, in a session with just the clothing 
on a manniquin or lower-rank person."

I can add that inventories of the artists workshops also reflect the 
clothing that they held for customers who were in process of 
portraits.  And some articles of clothing that were indeed owned by the 
workshop or on loan from pawn brokers.   An excellent example of a dress in 
the posession of a workshop comes from the English records of H. 
Holbein.  One dress is seen in both
"Laïs of Corinth" at 
http://cgfa.sunsite.dk/hholbein2/p-hholbein2-10.htm  and agian in "Venus 
and Cupid"  http://cgfa.sunsite.dk/hholbein2/p-hholbein2-9.htm


>Mind you, a contemporary portrait is usually an excellent source, it's 
>just not a primary one.

Gotta agree with that... unless we have the actual garment in hand,  we can 
only deduce it's construction.  Depending on the accuracy of the 
artist,  we might get quite close to the look,  but without the 
original,  we can't be -sure-.

Bridgette 
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Subject: RE: [h-cost] Re: Eleonora's Dress (scan)
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On 03:07 17/09/2003 Wanda Pease said
>I only meant that Bronzino was certainly well paid for his likenesses of
>Eleonora, the matriarch of the Medici clan.

Interesting thing about Bronzino, and one of the reasons he was so popular 
as a portraitist, especially amongst the parvenu Dukes of Florence.
You can't look his sitters straight in the eye. The effect is usually 
called "The Bronzino Squint" by art historians, and was taken up by other 
portraitists of the time (but not Holbein).


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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On 17:35 17/09/2003 Cynthia Virtue said
>Several hundred years later, I expect even a full-time art historian would 
>not have access to the work-diary of an artist, to know if Lady X was 
>there the whole time, or if he might have made some things up.  A painter 
>of the time was probably quite familiar with how clothing was supposed to 
>look, so even his inventions would be fairly accurate.

In this period, it was usual for an artist to have a scuolo, or workshop. 
There would be painters from every stage in the workshop, from apprentices 
to masters. The apprentice would rarely touch the canvas or fresco, but 
would learn to mix the pigments and varnishes, learning the techniques of 
painting over years. When a painting is by "Bronzino," for example, several 
hands were involved in the finished work. There were drapery experts, who 
would do the clothes, and hand experts, who would - you guessed it. The 
Master would usually do the face, though sometimes, if he was busy, he 
would do one 'master' of the face, and then the other likenesses would be 
taken from that.
Michelangelo started his career in the studio of successful artist 
Ghirlandaio, in fact it is possible that his first sight of the Sistine 
Chapel was when he was an apprentice helping Ghirlandaio do the walls in 
the chapel. Leonardo worked at Verrocchio's studio. Bronzino was Pontormo's 
pupil.
This practice continued well into the eighteenth century, especially in the 
field of commercial portraiture.
A sitter would expect to sit for the face and perhaps (though not always) 
the hands. The master would do a detailed sketch and then the sitter would 
send the clothes to the studio. There, the finished portrait would be 
worked up.
It wasn't so much flattery, as a depiction of a person's station in life 
and their importance. Portraits, apart from portraits of donors in 
religious frescos, didn't really come into use until the end of the 
fifteenth century, earlier in more avant garde centres like Florence and 
Milan. The development of the oil and canvas technique, rather than tempera 
or fresco, did a lot to popularise the genre, as did the Reformation. You 
see, artists previously employed in churches and monasteries now needed 
something else to do. Hans Holbein Senior was a religious artists, painting 
a number of alterpieces in his time. His son, Hans Holbein the Younger, 
painted almost exclusively portraits, mostly of the English Court and the 
Humanist scholars of the early sixteenth century.

I'll shut up now. I hope something was of interest to you.


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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From h-costume-bounces@indra.com  Wed Sep 17 14:00:06 2003
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From: "Your Name" <sarah@elizabethanlady.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
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> >  For example, there are four copies
> > if the Eleanora wedding dress, one of which is in a small museum in
> > Sacramento, California.
> >
> 
> Ok, ruffled feathers here.  You are speaking of the Crocker, which is
> considered one of the finest art museum in Northern California.  It 
may not
> be the largest museum in the state, but it is one of the best. 

Hear hear!  The Crocker, for anyone who has never actually been to it, 
is an AMAZING museum.  It's also pretty large.  Not on the scale of 
the Met or anything, but it's definitely a respectible size.  The 
Crocker also houses a small collection of Flemish artwork including a 
Brueghal "Peasant Dance" painting and a few early German 16th century 
paintings.  The collection really picks up around the 1650 mark, 
though, with some extraordinary Dutch portraits from the middle of the 
17th century onwards.  There's a gorgeous gold worked bed spread from 
the 18th century that hangs on the wall up there with the Dutch 
paintings, too, that is absolutely to die for.  It's an excellent 
source for studying goldwork embroidery as it's in plain view without 
any glass around it.  

We Sacramentans really love our Crocker, that's for sure.  ;P

> Also a
> little known fact is the Crocker also holds the one of the largest
> collections of clothing covering the history of California ranging 
from the
> 1800's to modern day.  Now if they would just put the whole lot on 
the web.

I don't think I've seen much of that on display even at the museum... 
The largest collection of clothing actually on display I've come 
across used to be at the History Museum in Old Sac, now the Discovery 
Museum.  I'm not sure if it's still there, as I've not been since it 
changed hands.  

Does the Crocker actually display their collection to the public?  I'm 
trying to remember seeing any clothing there in recent memory and I 
can't seem to recall any.

Sarah
http://www.elizabethanlady.com
_______________________________________________
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From h-costume-bounces@indra.com  Wed Sep 17 14:00:14 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
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> >  For example, there are four copies
> > if the Eleanora wedding dress, one of which is in a small museum in
> > Sacramento, California.
> >
> 
> Ok, ruffled feathers here.  You are speaking of the Crocker, which is
> considered one of the finest art museum in Northern California.  It 
may not
> be the largest museum in the state, but it is one of the best. 

Hear hear!  The Crocker, for anyone who has never actually been to it, 
is an AMAZING museum.  It's also pretty large.  Not on the scale of 
the Met or anything, but it's definitely a respectible size.  The 
Crocker also houses a small collection of Flemish artwork including a 
Brueghal "Peasant Dance" painting and a few early German 16th century 
paintings.  The collection really picks up around the 1650 mark, 
though, with some extraordinary Dutch portraits from the middle of the 
17th century onwards.  There's a gorgeous gold worked bed spread from 
the 18th century that hangs on the wall up there with the Dutch 
paintings, too, that is absolutely to die for.  It's an excellent 
source for studying goldwork embroidery as it's in plain view without 
any glass around it.  

We Sacramentans really love our Crocker, that's for sure.  ;P

> Also a
> little known fact is the Crocker also holds the one of the largest
> collections of clothing covering the history of California ranging 
from the
> 1800's to modern day.  Now if they would just put the whole lot on 
the web.

I don't think I've seen much of that on display even at the museum... 
The largest collection of clothing actually on display I've come 
across used to be at the History Museum in Old Sac, now the Discovery 
Museum.  I'm not sure if it's still there, as I've not been since it 
changed hands.  

Does the Crocker actually display their collection to the public?  I'm 
trying to remember seeing any clothing there in recent memory and I 
can't seem to recall any.

Sarah
http://www.elizabethanlady.com
_______________________________________________
h-costume mailing list
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From h-costume-bounces@indra.com  Wed Sep 17 14:00:35 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
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> >  For example, there are four copies
> > if the Eleanora wedding dress, one of which is in a small museum in
> > Sacramento, California.
> >
> 
> Ok, ruffled feathers here.  You are speaking of the Crocker, which is
> considered one of the finest art museum in Northern California.  It 
may not
> be the largest museum in the state, but it is one of the best. 

Hear hear!  The Crocker, for anyone who has never actually been to it, 
is an AMAZING museum.  It's also pretty large.  Not on the scale of 
the Met or anything, but it's definitely a respectible size.  The 
Crocker also houses a small collection of Flemish artwork including a 
Brueghal "Peasant Dance" painting and a few early German 16th century 
paintings.  The collection really picks up around the 1650 mark, 
though, with some extraordinary Dutch portraits from the middle of the 
17th century onwards.  There's a gorgeous gold worked bed spread from 
the 18th century that hangs on the wall up there with the Dutch 
paintings, too, that is absolutely to die for.  It's an excellent 
source for studying goldwork embroidery as it's in plain view without 
any glass around it.  

We Sacramentans really love our Crocker, that's for sure.  ;P

> Also a
> little known fact is the Crocker also holds the one of the largest
> collections of clothing covering the history of California ranging 
from the
> 1800's to modern day.  Now if they would just put the whole lot on 
the web.

I don't think I've seen much of that on display even at the museum... 
The largest collection of clothing actually on display I've come 
across used to be at the History Museum in Old Sac, now the Discovery 
Museum.  I'm not sure if it's still there, as I've not been since it 
changed hands.  

Does the Crocker actually display their collection to the public?  I'm 
trying to remember seeing any clothing there in recent memory and I 
can't seem to recall any.

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

From h-costume-bounces@indra.com  Wed Sep 17 14:09:11 2003
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From: "Your Name" <sarah@elizabethanlady.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
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AAAACK!  My computer hicuped!!!  Appologies to the list!!!  

Sarah
http://www.elizabethanlady.com

> 
> > >  For example, there are four copies
> > > if the Eleanora wedding dress, one of which is in a small museum 
in
> > > Sacramento, California.
> > >
> > 
> > Ok, ruffled feathers here.  You are speaking of the Crocker, which 
is
> > considered one of the finest art museum in Northern California.  
It 
> may not
> > be the largest museum in the state, but it is one of the best. 
> 
> Hear hear!  The Crocker, for anyone who has never actually been to 
it, 
> is an AMAZING museum.  It's also pretty large.  Not on the scale of 
> the Met or anything, but it's definitely a respectible size.  The 
> Crocker also houses a small collection of Flemish artwork including 
a 
> Brueghal "Peasant Dance" painting and a few early German 16th 
century 
> paintings.  The collection really picks up around the 1650 mark, 
> though, with some extraordinary Dutch portraits from the middle of 
the 
> 17th century onwards.  There's a gorgeous gold worked bed spread 
from 
> the 18th century that hangs on the wall up there with the Dutch 
> paintings, too, that is absolutely to die for.  It's an excellent 
> source for studying goldwork embroidery as it's in plain view 
without 
> any glass around it.  
> 
> We Sacramentans really love our Crocker, that's for sure.  ;P
> 
> > Also a
> > little known fact is the Crocker also holds the one of the largest
> > collections of clothing covering the history of California ranging 
> from the
> > 1800's to modern day.  Now if they would just put the whole lot on 
> the web.
> 
> I don't think I've seen much of that on display even at the 
museum... 
> The largest collection of clothing actually on display I've come 
> across used to be at the History Museum in Old Sac, now the 
Discovery 
> Museum.  I'm not sure if it's still there, as I've not been since it 
> changed hands.  
> 
> Does the Crocker actually display their collection to the public?  
I'm 
> trying to remember seeing any clothing there in recent memory and I 
> can't seem to recall any.
> 
> Sarah
> http://www.elizabethanlady.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] pictoral evidence, paintings.
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M Stewart wrote:
> An excellent example of a dress in the 
> posession of a workshop comes from the English records of H. Holbein.  
> One dress is seen in both
> "Laïs of Corinth" at 
> http://cgfa.sunsite.dk/hholbein2/p-hholbein2-10.htm  and agian in "Venus 
> and Cupid"  http://cgfa.sunsite.dk/hholbein2/p-hholbein2-9.htm


That's really keen!  Does some record talk about the dress?  Not 
knowing, I would have guessed one was a copy (well, mostly) of the 
other, rather than both from the same dress.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"It's Senator Joe McCarthy, Mr. Ashcroft -- he wants his personality 
back."  -- DTWOF
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Subject: [h-cost] Re. hoops
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Lloyd
 
Would it be possible for you to post pictures of these hoops?
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Subject: [h-cost] Another Bronzino Portrait
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http://www.geocities.com/ailithmac/portraits.html

Eleonora di Toledo and her Son Francesco 
Agnolo Bronzino, circa 1549 
Cincinnati Museum of Art, Cincinnati, Ohio 


I have not been able to verify the location of this
painting. The Cincinnati Art Museum does not show it
in their online catalog. At least that I can find in
the indexes and search engine.


=====


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] pictoral evidence, paintings.
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I ran across the reference in a book titled "Renaissance Clothing and the 
Materials of Memory"  very interesting research into the role of 
clothing.   Bridgette



>That's really keen!  Does some record talk about the dress?  Not knowing, 
>I would have guessed one was a copy (well, mostly) of the other, rather 
>than both from the same dress.
>
>>An excellent example of a dress in the posession of a workshop comes from 
>>the English records of H. Holbein.
>>One dress is seen in both
>>"Laïs of Corinth" at 
>>http://cgfa.sunsite.dk/hholbein2/p-hholbein2-10.htm  and agian in "Venus 
>>and Cupid"  http://cgfa.sunsite.dk/hholbein2/p-hholbein2-9.htm
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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
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>Does the Crocker actually display their collection to the public?  I'm 
>trying to remember seeing any clothing there in recent memory and I 
>can't seem to recall any.

I've never seen any clothing on display there, although I understand
there's a secret vault full of treasures somewhere. Maybe those of us in
the area should do some agitating, or if it's a problem of funding for
proper display, that could be a community service project for the
Sacramento Costumer's Guild.

 I remember seeing Patty Reed's wedding dress at Sutter's Fort when I was a
child, but it's no longer there either.  As I recall, it was tiny, I could
have fitted into it as a large eight year old. I've always wondered if that
year of starvation as a child (she was one of the Donner Party) stunted her
growth.

Margo

"One Tough Costumer"

www.margospatterns.com
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Subject: [h-cost] Historical Clothing collections in the Sacramento Area
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> I've never seen any clothing on display there, although I understand
> there's a secret vault full of treasures somewhere. Maybe those of us 
> in
> the area should do some agitating, or if it's a problem of funding for
> proper display, that could be a community service project for the
> Sacramento Costumer's Guild.

Sounds like a fun one.  Now that I think of it, I think there is a tiny 
amount of clothing on display at the Crocker in one of two rooms they 
"preserved" in the mansion, circa 1890 or so.  Of course, you can't get 
anywhere near close to the dresses...

>  I remember seeing Patty Reed's wedding dress at Sutter's Fort when I 
> was a
> child, but it's no longer there either.  As I recall, it was tiny, I 
> could
> have fitted into it as a large eight year old. I've always wondered if 
> that
> year of starvation as a child (she was one of the Donner Party) 
> stunted her
> growth.

I've been recently informed that a museum in Folsom has a fabulous 19th 
century clothing collection, but it's not on display.  My costuming 
instructor at ARC mentioned it a few weeks ago and I've been curious as 
to whether or not they'd let students in to see the collection.  
Unfortunately, I can't recall the name of the museum... Argh!  Anyone 
the list know the museum in question?

Sarah
http://www.elizabethanlady.com

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Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
Date: Wed, 17 Sep 2003 14:31:43 -0700
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----- Original Message -----
From: "Your Name" <sarah@elizabethanlady.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 17, 2003 10:59 AM
Subject: Re: [h-cost] Re: Eleonora's Dress (scan)

>
> I don't think I've seen much of that on display even at the museum...
> The largest collection of clothing actually on display I've come
> across used to be at the History Museum in Old Sac, now the Discovery
> Museum.  I'm not sure if it's still there, as I've not been since it
> changed hands.
>
> Does the Crocker actually display their collection to the public?  I'm
> trying to remember seeing any clothing there in recent memory and I
> can't seem to recall any.

The Crocker shows only a small part of there clothing collection.  Most of
it is stored in the basement.  But you can arrange at tour if you wish.
It's well worth the trouble.  The Discovery Museum has a much smaller
collection, but they show more of it.  Some very lovely stuff.

Stephen Bergdahl - Lord Vich

"This ring, no other, is made by the elves,
Who'd pawn their own mother to grab it themselves.
Ruler of creeper, mortal, and scallop,
This is a sleeper that packs quite a wallop.
The Power almighty rests in this Lone Ring.
The Power, alrightly, for doing your Own Thing.
If broken or busted it cannot be remade
If found, send to Sorhed (the postage is prepaid)."

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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] antique hoops
Date: Wed, 17 Sep 2003 17:33:24 -0400
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Kathleen,

The opening or "placket" that you mentioned is so you get the crinoline on
and off.  Without it the crinoline would never go past your shoulders and/or
hips.  Leather is used as a reinforcement because it was stronger and less
likely to permit the ends of the wires to poke through; however, I have
found several crinolines that used a heavy cotton instead of the leather.

Where are the buttonholes located on the waistband?  Do these crinolines
also have the buckle attached?  I've examined a number of original
crinolines where the size of the waistband was altered with the additions of
buttons and button holes, or the addition of two buttonholes (one at either
end of the waistband) tied together with a string.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 5-7, 2004





Among my 19th C hoops, are three mid century models.  Two of these have
buttonholes in the waist tapes.  What garment would have bourn the weight
with buttons? The petticoat?  Corset cover?  corset?  The two also have a
leather 'placket' that was either tied or laced at the center front.  My
take on this style is that they would better accommodate a belly of "age",
or condition.
Any comments or help greatly appreciated.
Kathleen
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From h-costume-bounces@indra.com  Wed Sep 17 17:36:50 2003
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From: "ailith" <ailith@neo.rr.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Re: Another Bronzino Portrait
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Yes, it's there--or at least it was. It's been at least 6 years since
I was there, though.

It's a copy. One that's been badly restored, too. I can't remember
exactly what happened to it--if it was water or fire damage. The
original is in Italy. If someone has the Magnificanza catalog, the
original is shown in it. It's one of the pieces that didn't travel, if
I'm remembering correctly (much to my disappointment!).

Kate
who really means to move those images to a more permanent site one of
these days...


----- Original Message -----
From: "Catalina Sanabria Rosado" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 17, 2003 3:19 PM
Subject: [h-cost] Another Bronzino Portrait


> http://www.geocities.com/ailithmac/portraits.html
>
> Eleonora di Toledo and her Son Francesco
> Agnolo Bronzino, circa 1549
> Cincinnati Museum of Art, Cincinnati, Ohio
>
>
> I have not been able to verify the location of this
> painting. The Cincinnati Art Museum does not show it
> in their online catalog. At least that I can find in
> the indexes and search engine.
>
>
> =====
>
>
>
______________________________________________________________________
__
> Want to chat instantly with your online friends?  Get the FREE
Yahoo!
> Messenger http://mail.messenger.yahoo.co.uk
> _______________________________________________
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From: "Stephen Bergdahl" <madlystitching@earthlink.net>
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Subject: Re: [h-cost] Historical Clothing collections in the Sacramento Area
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----- Original Message -----
From: "Sarah" <sarah@elizabethanlady.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 17, 2003 2:14 PM
Subject: [h-cost] Historical Clothing collections in the Sacramento Area
>
> I've been recently informed that a museum in Folsom has a fabulous 19th
> century clothing collection, but it's not on display.  My costuming
> instructor at ARC mentioned it a few weeks ago and I've been curious as
> to whether or not they'd let students in to see the collection.
> Unfortunately, I can't recall the name of the museum... Argh!  Anyone
> the list know the museum in question?
>
> Sarah

That would be the Folsom History Center.  It's has a great collection, but
like so many city museums it has no space and little funding.  But I am sure
if you call and ask them they would be more than willing to arrange a tour.
Here in Sacramento, we have what is known as "The Warehouse".  It's the
spare display items that belong to the state museums, Fort Sutter,  the
Governor's Mansion and the like.  It hold are Large collection of every day
clothes that most places are not interested in seeing, but have historical
value.  Shirts wore by so-and-so that sort of things.  To see it you have to
know the right people, and it is in the middle of no where.  But it has some
fascinating stuff.  One of the more interesting things there is a small
drawstring bag from the 1850's.  The bag itself is nothing special until you
figure out that it was made from 18 separate pieces of fabric.  Goes to show
you how costly fabric use to be if they were willing to piece that many
scrapes to just make a bag.

Stephen Bergdahl

One thing you got to say about the Republicans, they don't give up easily.
Impeach Clinton, steal Florida, redistrict Texas, recall Davis.  You know
what , these guys had better watch out or they're going to get slapped with
the reputation of being extremely sore losers.

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From h-costume-bounces@indra.com  Wed Sep 17 18:29:40 2003
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Kass's patterns, 16th-17th c.
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I don't usually read threads about post-medieval costume, so I may have
missed a mention of this, but if not, I figured people here would be
interested.

I was just talking with Kass McGann, of the "Reconstructing History" site,
and learned she is developing a line of costume patterns. There's a
writeup and pictures at her site -- go to
http://www.reconstructinghistory.com and click on "patterns" at the left.
I wouldn't know how to evaluate anything from these periods, but I know
Kass's work in other areas and would expect these to be pretty good.

I asked her what she's got coming up, and here's what she told me:

<<
The first collection includes patterns suitable for Cavalier/English Civil
War and 30 Years War events and the long-awaited 16th/17th century Irish
collection.

There will be three 1630s patterns available in time for the Known World
Costuming Symposium in Denver and St. Mary's Grand Militia Muster in
Maryland on 18 October.  These patterns are:
	Women's 1600-1660s Caps 
	Men's and Women's 1630s Collars and Cuffs 
	Men's and Women's 17th century Shirt and Shift

Four more 1630s patterns will follow hot on their heels (they may even
be available on 18 October, but I don't want to make that promise).
These are:
	Women's 1630s Bodice and Petticote 
	Men's 1630s Doublet  
	Men's 1630s Breeches 
	Men's Cassock and Cape

And the first five Irish 16th century patterns will be available in time
for Christmas.  They are:
	The Shinrone Gown 
	Women's Léine  
	The Kilcommon Jacket, Trews and Cloak 
	Men's Léine 
	The Dungiven Jacket, Trews and Cloak

All my patterns will be available at Grannd.com as well as at retail and
online sites throughout the reenactment and costuming community.
>>

Hope that's of interest.

--Robin



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	<54320.162.119.64.111.1063813382.squirrel@webmail.inreach.com><000b01c37bdc$77c708a0$6501a8c0@SG01><007f01c37be2$eb24aae0$1902a8c0@duncan><54320.162.119.64.111.1063813382.squirrel@webmail.inreach.com><5.2.1.1.2.20030917132133.00b96370@postoffice8.mail.cornell.edu>
	<3F68A2F0.8030406@thibault.org>
Subject: Re: [h-cost] pictoral evidence, paintings.
Date: Thu, 18 Sep 2003 12:34:32 +1200
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> An excellent example of a dress in the
> posession of a workshop comes from the English records of H. Holbein.
> One dress is seen in both
> "Laïs of Corinth" at
> http://cgfa.sunsite.dk/hholbein2/p-hholbein2-10.htm  and agian in "Venus
> and Cupid"  http://cgfa.sunsite.dk/hholbein2/p-hholbein2-9.htm

<<That's really keen!  Does some record talk about the dress?  Not
knowing, I would have guessed one was a copy (well, mostly) of the
other, rather than both from the same dress.>>

I'm pretty sure they painted at very different times, and places...

http://gallery.euroweb.hu/html/h/holbein/hans_y/1525/11venus.html
Painted in Basle
http://gallery.euroweb.hu/html/h/holbein/hans_y/1528/1lais_co.html
Painted in England (the link would suggest 1528 but the page says 1526)

So do the records say that he took the dress with him to England, or just
that the dress was painted from an example in his workshop? The two figures
are also so very alike I'd have thought the Lais was a reworking of the
figure in a different context.

Her headdress is the same, her idealised features mostly the same...

The slashing of the bodice is different though, and there is the addition of
slashed sleeves in the Lais, and of course different belts... Love the venus
one... hmmm...

I'd be very keen to know of the notes. Must do a search. What source
mentions the dress in records?

michaela
http://costumes.glittersweet.com


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <LLEALCLGCCEBKHIGEMPOGEJFCHAA.marthakelly@nyc.rr.com>
Subject: Re: [h-cost] Re. hoops
Date: Wed, 17 Sep 2003 22:09:38 -0400
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Sorry, Martha, but not at this time. Not the right equipment.  I am in the
process of taking measurements and drawing a description from them that I
hope will give some picture of what I am dealing with.
Kathleen
----- Original Message ----- 
From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: <h-costume@net.indra.com>
Sent: Wednesday, September 17, 2003 3:14 PM
Subject: [h-cost] Re. hoops


> Lloyd
>
> Would it be possible for you to post pictures of these hoops?
> _______________________________________________
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To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10309171743400.9543-100000@shell.nightowl.net>
Subject: Re: [h-cost] Kass's patterns, 16th-17th c.
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> I was just talking with Kass McGann, of the "Reconstructing History" site,
> and learned she is developing a line of costume patterns.
<snip>
> Hope that's of interest.
> --Robin

Oh yes it is of interest. Kass is the one who got me started costuming when
I first joined the SCA, and I still refer newbies to her site. Her research
I've seen so far has been very good, and I think she's tackling an era where
few really good patterns exist. I just hope they're not too expensive,
because if I buy one and see that I like the format, I'll probably be
tempted to buy the whole line!

(Now I wish someone would make patterns for early period (bliauts, t-tunics)
so we can refer newbies to something better than Simplicity. I don't need a
pattern for those, and most people wouldn't need one either if they had the
courage to try it, but some people just can't do it without a real printed
pattern. :-)
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Subject: [h-cost] Crockett stuff
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Does the Crocker actually display their collection to the public?
I'm  trying to remember seeing any clothing there in recent memory and I
 > can't seem to recall any.
-------------
It might be worth getting a group togetehr and arranging a tour.

The Chicagoland Costumer's Guild got a tour of the Costume Collection 
belonging to the Chicago Historical Society.  We weren't allowed to 
touch anything, of course, but hat with the little leather lobsters on 
it - they looked like little Muppets!

The lady who took us around was very friendly, and thrilled to have 
people to discuss her obsession with!  I recall that she actually showed 
us a new acquisition and asked if any of us could date it.  Karen could! 
::waving 'hello' to Karen::

Having an official organization like the Costumer's Guild to work 
through helped wit the arrangements, I'm sure.  Give it a try - it is SO 
worth it!

Wendy Z
two weeks left of MiRF!
Chicago, IL

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <002401c37d63$536b2170$0200a8c0@GENTEELARTS>
Subject: Re: [h-cost] antique hoops
Date: Wed, 17 Sep 2003 22:54:29 -0400
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Carolann, thank you for your comments.  One of the hoops is my great, great
grandmother's and this  particular one has the top tier of wires set 9'
below the waistband and thus does not require the 'placket opening' (my
term). The waist is about 30" and appears to be original; the bottom rim is
32", back length is 38" to waist and the front is 33".  There are 15 wires
set 2" apart on a twill tape 1 3/4". The waist was fastened with a pin. Fits
well under costumes of the mid1865-1870.
I have now identified two hoops as described this AM, with waist bands that
fastened with ties, but that had 5 buttonholes each around the back of the
band, or rather equally spaced over all the waist band..  The ends of the
band are finished with two lacing holes for the tie. Measurements: Waist 26
1/2"; Length is 36, back, and 32" front.  The bottom rim is 31". The front
'Placket" is 8", of leather.  There are 15 wires from bottom to the opening,
with another 5 wires to the waist.  There is a second hoop that is rather
like this one in size and arrangement, except that the "placket" is of
 canvas.
A fourth one has a 24" waist, is 30" diameter of the bottom rim. This waist
band has three buttonholes centered from the center back. The wires number
17, set 1 3/4" apart to the hipline and the placket on this one is not quite
open, but the 5 wires above are kept in line with (the intended) help of
elastic cords. The size and shape of this one puts it firmly for the under
prop for the late 70's.

There are no signs of buckles.  The hoops have been found in New England as
well as western Pa; the buttonholes are hand-worked, while the 'grommet'
holes for the ties appear to be machine worked.

Kathleen
----- Original Message ----- 
From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Wednesday, September 17, 2003 5:33 PM
Subject: RE: [h-cost] antique hoops


> Kathleen,
>
> The opening or "placket" that you mentioned is so you get the crinoline on
> and off.  Without it the crinoline would never go past your shoulders
and/or
> hips.  Leather is used as a reinforcement because it was stronger and less
> likely to permit the ends of the wires to poke through; however, I have
> found several crinolines that used a heavy cotton instead of the leather.
>
> Where are the buttonholes located on the waistband?  Do these crinolines
> also have the buckle attached?  I've examined a number of original
> crinolines where the size of the waistband was altered with the additions
of
> buttons and button holes, or the addition of two buttonholes (one at
either
> end of the waistband) tied together with a string.
>
> Carolann Schmitt
> cschmitt@genteelarts.com
> www.genteelarts.com
> Ladies & Gentlemen of the 1860s Conference, March 5-7, 2004
>
>
>
>
>
> Among my 19th C hoops, are three mid century models.  Two of these have
> buttonholes in the waist tapes.  What garment would have bourn the weight
> with buttons? The petticoat?  Corset cover?  corset?  The two also have a
> leather 'placket' that was either tied or laced at the center front.  My
> take on this style is that they would better accommodate a belly of "age",
> or condition.
> Any comments or help greatly appreciated.
> Kathleen
> _______________________________________________
>
>
> _______________________________________________
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] antique hoops
Date: Wed, 17 Sep 2003 23:48:01 -0400
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Kathleen,

I think the buttonholes in the back were used to secure a detachable bustle
pad.  If the hoops are even slightly elliptical in shape they tend to say in
the back, especially if the wearer doesn't have much natural padding. :-)
I'm just logging off for the evening, but will re-read your message
tomorrow; I know I have some other questions for you.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 5-7, 2004



Carolann, thank you for your comments.  One of the hoops is my great, great
grandmother's and this  particular one has the top tier of wires set 9'
below the waistband and thus does not require the 'placket opening' (my
term). The waist is about 30" and appears to be original; the bottom rim is
32", back length is 38" to waist and the front is 33".  There are 15 wires
set 2" apart on a twill tape 1 3/4". The waist was fastened with a pin. Fits
well under costumes of the mid1865-1870.
I have now identified two hoops as described this AM, with waist bands that
fastened with ties, but that had 5 buttonholes each around the back of the
band, or rather equally spaced over all the waist band..  The ends of the
band are finished with two lacing holes for the tie. Measurements: Waist 26
1/2"; Length is 36, back, and 32" front.  The bottom rim is 31". The front
'Placket" is 8", of leather.  There are 15 wires from bottom to the opening,
with another 5 wires to the waist.  There is a second hoop that is rather
like this one in size and arrangement, except that the "placket" is of
 canvas.
A fourth one has a 24" waist, is 30" diameter of the bottom rim. This waist
band has three buttonholes centered from the center back. The wires number
17, set 1 3/4" apart to the hipline and the placket on this one is not quite
open, but the 5 wires above are kept in line with (the intended) help of
elastic cords. The size and shape of this one puts it firmly for the under
prop for the late 70's.

There are no signs of buckles.  The hoops have been found in New England as
well as western Pa; the buttonholes are hand-worked, while the 'grommet'
holes for the ties appear to be machine worked.

Kathleen
http://mail.indra.com/mailman/listinfo/h-costume


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Date: Wed, 17 Sep 2003 21:34:51 -0700 (PDT)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Another Bronzino Portrait
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Some really nice portraits here--some I had'nt seen before :) This is very timely for me--since this is the time period and country I've been looking at recently .Thanks so much for sharing!
Albra

Catalina Sanabria Rosado <ladyforbeys@yahoo.com> wrote:
http://www.geocities.com/ailithmac/portraits.html

Eleonora di Toledo and her Son Francesco 
Agnolo Bronzino, circa 1549 
Cincinnati Museum of Art, Cincinnati, Ohio 


I have not been able to verify the location of this
painting. The Cincinnati Art Museum does not show it
in their online catalog. At least that I can find in
the indexes and search engine.


=====


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Subject: [h-cost] the homeless high fashion look
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Has anyone else noticed that the shoe styles popular at the moment, the ones
with no covering for the heels are exactly how many homeless people adapt
ill fitting shoes?  Cutting the heels off a too small pair makes them
wearable.  I noticed this when I lived in New York City in the mid to late
80's, all these homeless people had shoes with the heels cut off and now
it's high fashion!

Lisa Sinervo
www.ThrednedleStrete.com




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Audrey Bergeron-Morin wrote (Pruning ensues):

> (Now I wish someone would make patterns for early period (bliauts, t-tunics)
> so we can refer newbies to something better than Simplicity. 

Fleur de Lys has a set of men's/women's/acces. patterns for 
early/Romanesque period.  Would that fit the bill?

Hope that helps,

Theresa Eacker

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From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
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Greetings,

I have actually seen other portraits (2 IIRC) with Eleanora wearing that 
gown - in both of those she is painted with her husband Cosimo.  Also,  I 
have read an article by the conservator of her burial garments and she 
describes them to match the painting (except possibly in colour - I don't 
remember that part and can't find what I've done with the article).  The 
portraits can be found in the book "Medici Portraits."  I have also read 
*somewhere* that her final illness was quite quick so she was buried in her 
favorite gown, with one of her sons who also died of the same 
illness.  That being her favorite gown would explain the multiple portraits 
it is depicted in.  Also, using the face on one painting as a model is not 
a surprise - look at the portraits of Elizabeth...and if a particular pose 
is fashionable, then it is no surprise it appears in multiple portraits...

Oh, one other cool item from the conservator's article - Cosimo's bottoms 
(I can't remember if they were trunk hose or what) were made of wool felt.

Cheers,
Danielle

At 08:43 AM 9/17/2003 -0700, you wrote:
> > Greetings Saragrace.
> >
> > I've already got it scanned. It's up temporarily at:
> > http://www.geocities.com/brendoken/eleanora.html
> >
> > This image is better than in the Pictoral Encyclopedia of Fashion. It is
> > from a newer book called "Bronzino's Chapel of Eleonora in the
> > Palazzo Vecchio," by Janet Cox-Rearick, published in 1993. Since I love
> > Bronzino so much, a friend thought I needed to own the book--so she got
> > it for me for my birthday!
>
>This is a great picture!
>
>But my first reaction at seeing it was--it's a copy.  It wasn't uncommon,
>from what I understand, to copy paintings and/or change the features of a
>painting within a school of artists.   For example, there are four copies
>if the Eleanora wedding dress, one of which is in a small museum in
>Sacramento, California.
>
>  The reason why I get the impression that this is a copy is twofold--one
>is that her face is exactly the same as in the wedding portrait (white
>satin dress)
>
>http://cgfa.sunsite.dk/bronzino/p-bronzino4.htm
>
>  and second is that the pose is exactly the same as a portrait that
>Bronzino did of a young girl with a prayer book
>
>http://cgfa.sunsite.dk/bronzino/p-bronzino16.htm
>
>I am not trying to burst anybody's bubble with this info, I just don't
>think that we should use the portrait as primary evidence if it is truly
>not a portrait done with the artitst and subject in the same room.
>
>Respectfully,
>
>Diana
>
>
>
>
>_______________________________________________
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Date: Thu, 18 Sep 2003 08:49:55 +0100 (BST)
From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Kass's patterns, 16th-17th c.
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 --- Robin Netherton <robin@shell.nightowl.net> wrote: > 

> All my patterns will be available at Grannd.com as well as at retail and
> online sites throughout the reenactment and costuming community.
> >>
> 
> Hope that's of interest.

Well, that's of a lot of interest and I shall with baited breath await the
release to give them a very good scrutiny and test and examination :-)

So far  haven't found _the_ 1630s patterns yet, even though there are loads
around here in England. (not surprisingly *G*)

Nicole

=====
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Email: nicole@kipar.org
URL: http://www.kipar.org

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Date: Thu, 18 Sep 2003 08:56:44 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Kass's patterns, 16th-17th c.
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Great! I've been looking for a pattern for the Hollar cap for ages (it
was discussed on this list a year or two ago). I hope they will be
available in the UK.

Kate Bunting
Library, University of Derby
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Kass's patterns, 16th-17th c.
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 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > Great! I've been looking
for a pattern for the Hollar cap for ages (it
> was discussed on this list a year or two ago). I hope they will be
> available in the UK.

Kate, perhaps we could order together and share the shipping :-)

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

Email: nicole@kipar.org
URL: http://www.kipar.org

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Subject: Re: [h-cost] pictoral evidence, paintings. 
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>I can add that inventories of the artists workshops also reflect the 
>clothing that they held for customers who were in process of portraits.

There's a yellow jacket, trimmed in white fur, which appears in a least 
five Vermeer paintings I have seen.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Subject: Re: [h-cost] Kass's patterns, 16th-17th c.
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----- Original Message ----- 
From: "Theresa Eacker" <theresa@misc.com>
> Audrey Bergeron-Morin wrote (Pruning ensues):
> > (Now I wish someone would make patterns for early period (bliauts,
t-tunics)
> > so we can refer newbies to something better than Simplicity.
> Fleur de Lys has a set of men's/women's/acces. patterns for
> early/Romanesque period.  Would that fit the bill?
> Hope that helps,
> Theresa Eacker

You're right. I'd totally forgotten about those. I don't know how accurate
construction is, but the look is good. She even has an early 13th century
pattern, a period of clothing that's usually skipped over in pattern lines
and history books. (They usually jump from bliaut to sideless surcote,
forgetting the style that comes just in between)

It's Fleur de Lyse, with an "e", though, in case you're planning on Googling
it. And the best thing is they're really close to Montreal! I can even buy
them in French (my native language - it's always easier, even if I'm
bilingual). And CDN dollars and low shipping for me when I decide to buy
some :-)
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---- Original Message ----- 
From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>

> portraits can be found in the book "Medici Portraits."  I have also read

Would you know, by any chance, if this is the book in which there is,
supposedly,  the elusive Laudomia de'Medici portrait, by Bronzino? If so, do
you have the complete reference?
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Date: Thu, 18 Sep 2003 11:51:29 -0700
From: Kimiko Small <kimiko@kimiko1.com>
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Subject: [h-cost] some eBay books
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Here is an interesting book on eBay. Not sure if it relates to costuming 
specifically, but for those who like historical books of the Elizabethan era...
1558 Elizabethan England Facsimile Book
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2559256696&ssPageName=ADME:B:SS:US:1
Description
"The Quenes Maiesties Passage through the Citie of London to Westminster 
the Day before her Coronation " ;Edited by James M.Osborn

And then there is:
ANTIQUE BOOK COSTUME FASHION PRINTS FRENCH
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3243224024&ssPageName=ADME:B:SS:US:1

Hope someone finds them of interest.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com
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Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
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> ---- Original Message -----
> From: <dch@inreach.com>
> To: <h-costume@indra.com>
> Sent: Wednesday, September 17, 2003 8:43 AM
> Subject: Re: [h-cost] Re: Eleonora's Dress (scan)
>
>
>>  For example, there are four copies
>> if the Eleanora wedding dress, one of which is in a small museum in
>> Sacramento, California.
>>
>
> Ok, ruffled feathers here.  You are speaking of the Crocker, which is
> considered one of the finest art museum in Northern California.  It may
> not be the largest museum in the state, but it is one of the best.  Also
> a little known fact is the Crocker also holds the one of the largest
> collections of clothing covering the history of California ranging from
> the 1800's to modern day.  Now if they would just put the whole lot on
> the web.
>

Stephen,

You know me.  I am not slandering the Crocker Art Museum.  All I said was
that it was a small museum (which it is) as opposed to a large one like
the Boston MFA or the Getty.

I hope your feathers return to normal shortly ;~>

Diana


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----- Original Message -----
From: <dch@inreach.com>
> Stephen,
>
> You know me.  I am not slandering the Crocker Art Museum.  All I said was
> that it was a small museum (which it is) as opposed to a large one like
> the Boston MFA or the Getty.
>
> I hope your feathers return to normal shortly ;~>
>
> Diana
>

There are countries smaller than the Getty, but I am sure my feather will be
fine.  Like some many things in Sacramento the Crocker does not the respect
it deserves.

Stephen

"This ring, no other, is made by the elves,
Who'd pawn their own mother to grab it themselves.
Ruler of creeper, mortal, and scallop,
This is a sleeper that packs quite a wallop.
The Power almighty rests in this Lone Ring.
The Power, alrightly, for doing your Own Thing.
If broken or busted it cannot be remade
If found, send to Sorhed (the postage is prepaid)."

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> Now I wish someone would make patterns for early period (bliauts, t-tunics)
> so we can refer newbies to something better than Simplicity. I don't need a
> pattern for those, and most people wouldn't need one either if they had the
> courage to try it, but some people just can't do it without a real printed
> pattern.

Try La Fleur de Lyse:  http://www3.sympatico.ca/gousse-matte/fdl/Patterns.html#MAR

Also available at Smoke & Fire, Syke Sutlering, Five Rivers, etc.

They're pretty darned good, with some research note include.

Ann in CT



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A little bird told me you were discussing me, so I thought I'd drop in.

List moderator:  if I'm not allowed to talk business on this list,
please let me know.  I didn't see any prohibition against it in the list
rules, but please let me know if this is not appropriate.

Hi Audrey!  Still have your "first garb" photo in the beginners'
gallery.  To answer your question, the projected cost of the patterns
will be $12 for accessories patterns to $25 for "outfits".  We won't
know the final prices until we go to print, but that's my intended
range.  I'm trying to keep the price as low as possible while still
printing on paper (not tissue) and retaining the services of a
professional draftswoman so we can be assured that the patterns will fit
the sizes the say they will.

Kate, there will be two versions of the Hollar cap in the Caps pattern.
And I believe Grannd.com sells to the UK.  Whether my distributor will
sell to retail sites in the UK is another matter, but I definitely will
suggest it.

Nicole, I hope you like what you see.  I'd appreciate your input.  Here
in the US, we have no 17th century patterns except for costumes.  The
English Civil War community feels incredibly left out.  It was because
of this need that my distributor approached me in the first place.

Anyone I missed?

Kass McGann
Reconstructing History

"I'd rather go naked than wear a poly-cotton blend."


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Date: Thu, 18 Sep 2003 17:49:13 -0500
From: Joe Robertson <joedr@charter.net>
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Subject: [h-cost] The 16th century leine
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Ok, guys.
   It's time I asked a question or three. I am considering the leine of
a mid 16th century highland noble. Most records of leinte from earlier
times being elaborately decorated with embroidery about the lower hem,
the neck and cuffs. How might a 16th century noble from the highlands
decorate his shirt? All the period engravings and pictures I've seen
show soldiers and hunters in plain leinte with huge sleeves. These were
knee length but were pulled up under a belt and bloused over it. Now I
have a feeling the well off would probably have ornamented the garment
as a sign of wealth. The questions are how, where and what.
Slainte,
Joe
---
Joe Robertson, Psy.D.
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Subject: RE: [h-cost] The 16th century leine
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Hi Joe,

The simple truth of the matter is that we don't have any pictorial
evidence of what Highlanders wore in the 16th century, so there's the
rub.  That being said, there is a ton of textual evidence that says they
were indistinguishable from the Irish of the same period.  Great.
Except that we don't have much information on the dress of the Irish
either.

We *do*, however, have some information on the dress of the Irish.  It's
just not that complete.  The léine as worn by Irish kern (mercenary
soldiers) was almost invariably saffron-coloured linen and to a large
extent unadorned.  There is one picture of a piper with a small amount
of what could be embroidery on his sleeves (a few diagonal lines
criss-crossing the front seams) and one textual reference to a many who
had the seams of his léine embroidered in red and green silks.  But
there is no evidence that the elaborate embroidery described in the
6th-10th century tales was seen to any extent in the 16th century.

The question that springs to my mind is would a nobleman have worn a
léine at all?  Remember, our only evidence of them in this period is on
mercenary soldiers.  The nobility in Ireland tended to follow English
fashions, albeit with an Irish flair.  I would suspect the Highland
Scottish nobles did much the same.

I hope this helps.

Kass McGann
Reconstructing History

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Joe Robertson
Sent: 18 September 2003 5:49 PM
To: h-costume@indra.com
Subject: [h-cost] The 16th century leine

Ok, guys.
   It's time I asked a question or three. I am considering the leine of
a mid 16th century highland noble. Most records of leinte from earlier
times being elaborately decorated with embroidery about the lower hem,
the neck and cuffs. How might a 16th century noble from the highlands
decorate his shirt? All the period engravings and pictures I've seen
show soldiers and hunters in plain leinte with huge sleeves. These were
knee length but were pulled up under a belt and bloused over it. Now I
have a feeling the well off would probably have ornamented the garment
as a sign of wealth. The questions are how, where and what.
Slainte,
Joe
---
Joe Robertson, Psy.D.
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From h-costume-bounces@indra.com  Thu Sep 18 19:40:59 2003
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Date: Thu, 18 Sep 2003 16:39:12 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] The 16th century leine
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Hi Joe

What we used to do was either decorate the leine like you described, or the 
ionar (jacket) the sleeves, or whatever strikes your fancy. Celtic knotwork 
styles are quite popular for embroidery. Also, some highland lairds will 
wear the prevelant "English court" styles if they are known to come to 
court. I think it is the "while in Rome, do as the Romans do" sorta 
thinking, but I have no idea how well supported that is historically.

I did however an outfit for an Irish bard, which I may have mentioned to 
you before. The owner of the outfit was going to add in embroidery himself 
later, but I don't think he ever did. However, the Leine style is different 
than the soldiers/kerns you see. We based them from John Derricke's 
woodcuts, especially the dinner scene that can be found on Reconstructing 
History's site.
http://www.reconstructinghistory.com/fenians/derrickdinner.jpg
I found that originally from _Dress in Ireland_, for a better view and more 
images.

I have a work in progress web site that will document the whole creation of 
that outfit. Right now the only thing I have up is the Ionar construction, 
not the leine, which is next. But considering it is a work in progress you 
can see what I did that was different than the usual Irish outfits.
http://www.dreamtime-studios.com/costumes/irishbard/index.html

Mainly the differences is that I put the yards and yards of material into 
the Leine skirt which goes to the knees, not the sleeves or the body. The 
whole leine was 10 yards of modern 60" wide material, with most of the 
material cut into 20"+/- strips and pleated into the leine body. The rest 
of the material went into the body and small sleeves. The guy I made this 
for wanted short sleeves, but later decided that the actual sleeves we 
discussed, which go just the the wrist, would have been better and more 
appropriate.

And yes I do know that an Irish bard and a highland laird are two different 
types of people. But considering the Irish bard is of high social standing 
amongst the Irish, and most images of highland Lairds are usually covered 
in leather armor, or in a brat/cloak, or dressed with some English 
stylings, I thought it would help give you a different look that is 
historically based.

And one other item you might want to look at is the image opposite Pg 16 in 
_Old Highland Dress and Tartan_ of the hunting Scotsmen (I believe you 
mentioned you had the full book, so it might be a different page #). It is 
from Holinshed's Chronicle 1577, and the back of the ionar/jacket of the 
left archer is clearly decorated, as are the ionar sleeves over the leine 
sleeves. Other archers seem to have stripes going in vertical or diagonal 
directions on the backs of their ionars.

hth,

Kimiko



At 05:49 PM 9/18/2003 -0500, you wrote:
>Ok, guys.
>    It's time I asked a question or three. I am considering the leine of
>a mid 16th century highland noble. Most records of leinte from earlier
>times being elaborately decorated with embroidery about the lower hem,
>the neck and cuffs. How might a 16th century noble from the highlands
>decorate his shirt? All the period engravings and pictures I've seen
>show soldiers and hunters in plain leinte with huge sleeves. These were
>knee length but were pulled up under a belt and bloused over it. Now I
>have a feeling the well off would probably have ornamented the garment
>as a sign of wealth. The questions are how, where and what.
>Slainte,
>Joe




Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
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What we used to do was either decorate the leine like you described, or
the 
ionar (jacket) the sleeves, or whatever strikes your fancy. Celtic
knotwork 
styles are quite popular for embroidery. Also, some highland lairds will

wear the prevelant "English court" styles if they are known to come to 
court. I think it is the "while in Rome, do as the Romans do" sorta 
thinking, but I have no idea how well supported that is historically.
>>>>
Please please PLEASE do not put Celtic knotwork embroidery on the
sleeves of your léine!  Kimiko is correct in that the half-sleeves of
the ionar were often decorated with embroidery.  But it was not Celtic
knotwork.  Celtic knotwork as embroidery dates to a bunch of iron-on
transfer books from the 1990s, not to the 16th century.

Kass


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Date: Thu, 18 Sep 2003 16:57:51 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] The 16th century leine
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At 05:49 PM 9/18/2003 -0500, you wrote:
>Now I
>have a feeling the well off would probably have ornamented the garment
>as a sign of wealth. The questions are how, where and what.


A few other thoughts...

When we recreated the highland family of the MacLeods, we showed signs of 
wealth in different ways than English style/thought. Cattle was the wealth 
of the highlanders, along with land. We had hides of cattle and sheep that 
we used in our encampment to reflect that. Highland lairds also counted the 
loyalty of their clans as part of their wealth. They have a different 
mindset than say English lords, as can be seen in their history. Family 
ties and power mattered more than the Ruling Monarch, as was seen in the 
sad story of Mary Queen of Scots. Goodness knows how often how often the 
various Kings had to put down the highland lairds personally.

Also, we women would use fresh water pearls to decorate our outfits. We 
found documentation that the highlanders found lots and lots of fwpearls in 
their rivers and just horded it or used it for simple decorations. They 
didn't know how valuable they were until later centuries when some 
enterprising guy found the highlanders with jugs of the stuff, and started 
buying them cheap to resell at a much higher price. I think I found that in 
one of my beading books, if you want the docs for it. May not be specific 
for being completely historical based, and may depend on the clan and lands 
you are working with.

hth

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] The 16th century leine
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At 07:51 PM 9/18/2003 -0400, you wrote:
>Please please PLEASE do not put Celtic knotwork embroidery on the
>sleeves of your léine!  Kimiko is correct in that the half-sleeves of
>the ionar were often decorated with embroidery.  But it was not Celtic
>knotwork.  Celtic knotwork as embroidery dates to a bunch of iron-on
>transfer books from the 1990s, not to the 16th century.
>
>Kass


Agreed. I just mentioned what was often popular in faire to do. The 
drawings of the kerns and the scots archer both seem to show a floral and 
vine motifs on the ionars, but not on the leines. I just know leines were 
often Saffron colored among the rich. Oh, and that James wore a velvet 
jacket. That may be the way to go, use fine wools and velvets to set 
yourself apart from the kerns, along with a fine multi-colored cloak/plaide 
or trews.

There is a lot of popular ideas of what is "decorative" that has come from 
modern ideas, and very little of it is on the surviving woodcuts or drawings.

While I enjoyed researching the Celtic styles, the frustration is just how 
little of it remains for us to re-create from.

And all this has me pondering.. does anyone know of a book or resource that 
discusses Brehon laws of the 16th c.? My Irish friend spoke often of them 
when we discussed the costume, and the laws that dictated specific numbers 
of colors, etc. I think I need to add this to my resources, as I don't have 
as much contact with that friend as I used to. It was nice to just pick his 
brain for that research, as his memory is much better than mine.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com


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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Reconstructing History Patterns
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Congratulations, Kass!  It seems like jsut yesterday we were emailing back
and forth, trying to figure out where to get patterns printed.  I'm here to
tell you, running an independent pattern company comes second only to
motherhood for hard work, but unlike motherhood, the rewards can be
material as well as spiritual.  Best of luck to you!

Margo

"One Tough Costumer"

www.margospatterns.com
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Date: Thu, 18 Sep 2003 17:22:32 -0700
To: Historical Costume <h-costume@indra.com>, <h-costume@net.indra.com>
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Reconstructing History Patterns
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Congratulations, Kass!  It seems like jsut yesterday we were emailing back
and forth, trying to figure out where to get patterns printed.  I'm here to
tell you, running an independent pattern company comes second only to
motherhood for hard work, but unlike motherhood, the rewards can be
material as well as spiritual.  Best of luck to you!

Margo

"One Tough Costumer"

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

From h-costume-bounces@indra.com  Thu Sep 18 20:51:00 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Thu, 18 Sep 2003 20:50:01 -0400
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Agreed. I just mentioned what was often popular in faire to do. The 
drawings of the kerns and the scots archer both seem to show a floral
and 
vine motifs on the ionars, but not on the leines. I just know leines
were 
often Saffron colored among the rich. 
>>>>
Actually, *all* paintings of léinte show saffron colouring.  And every
textual reference to them mentions this saffron colour.  It was the
English who thought it implied wealth since they only knew this bright
yellow as a very expensive spice from Spain.  But it may not have been
actual saffron that was used to dye the léinte.  Read this:
http://www.reconstructinghistory.com/irish/saffrondye.html 

However, there is some argument that saffron (or at least a relative of
the saffron plant) may have grown wild in Ireland and therefore saffron
would have been plentiful.  Read this:
http://www.reconstructinghistory.com/irish/saffron.html 

The association of saffron colour with wealth is very likely a mistake
made by English writers.
>>>>
Oh, and that James wore a velvet 
jacket. That may be the way to go, use fine wools and velvets to set 
yourself apart from the kerns, along with a fine multi-colored
cloak/plaide 
or trews.
>>>>
I would also discourage this kind of stereotyping.  The association of
the Highland Scots with plaid/tartan is not something that happened
until centuries later.  If Joe wants to portray a Highland noble, his
best bet is to wear contemporary English clothing.  Not something that
was worn by Irish mercenaries.
>>>>
And all this has me pondering.. does anyone know of a book or resource
that 
discusses Brehon laws of the 16th c.? My Irish friend spoke often of
them 
when we discussed the costume, and the laws that dictated specific
numbers 
of colors, etc. I think I need to add this to my resources, as I don't
have 
as much contact with that friend as I used to. It was nice to just pick
his 
brain for that research, as his memory is much better than mine.
>>>>
I'm afraid there were no Brehon Laws in the 16th century, Kimiko.  The
laws that dictated how many colours a person of a certain class may wear
is ancient and is not known to have been adhered to in the Common Era,
and certainly not since the Norman Conquest in the 12th century.

It would be nice if we could use all the widespread knowledge on Irish
dress together to form one consistent idea of what they wore.  But you
simply can't apply pre-historical laws and sixth century decorative
techniques to 16th century garments and expect to come up with a viable
representation of mid-16th century clothing.

Kass McGann
Reconstructing History


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Reconstructing History Patterns
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Congratulations, Kass!  It seems like jsut yesterday we were emailing
back
and forth, trying to figure out where to get patterns printed.  I'm here
to
tell you, running an independent pattern company comes second only to
motherhood for hard work, but unlike motherhood, the rewards can be
material as well as spiritual.  Best of luck to you!
>>>>
Thanks Margo!  I appreciate your support.

Kass

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h-costume@mail.indra.com
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Date: Thu, 18 Sep 2003 18:51:53 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] The 16th century leine
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At 08:50 PM 9/18/2003 -0400, you wrote:
> >>>>
>Actually, *all* paintings of léinte show saffron colouring.  And every
>textual reference to them mentions this saffron colour.  It was the
>English who thought it implied wealth since they only knew this bright
>yellow as a very expensive spice from Spain.  But it may not have been
>actual saffron that was used to dye the léinte.  Read this:
>http://www.reconstructinghistory.com/irish/saffrondye.html

I have black and white images to go on, so I don't know what colors they 
are colored. I have seen a few of them with colors, but I don't have them 
on hand.

And I like what you have done in your experiments with the dyes. Similar to 
a friend who decided to find a commonly available pink and dyed with 
berries to prove her point. And another who got a nice purple from Scottish 
lichens.

>However, there is some argument that saffron (or at least a relative of
>the saffron plant) may have grown wild in Ireland and therefore saffron
>would have been plentiful.  Read this:
>http://www.reconstructinghistory.com/irish/saffron.html
>
>The association of saffron colour with wealth is very likely a mistake
>made by English writers.

Ah, I agree with the Irish having their own "saffron" as a color, as I 
found in my own research on the color. As to saffron being associated with 
the rich, that comment comes from _Old Highland Dress and Tartans_, where 
the author lists various authors of the time whose commentary on the 
saffron color is listed. Gordon of Straloch in 1594 describes that "the 
great" sometimes dyed with saffron. I probably thought that "the great" 
could be construed with wealth, or someone of high standing or power. 
Bishop Lesley in 1578 notes that the linen shirts are "dyed with saffron 
among the rich, smeared with grease among the poor." Saffron colored is 
highly noted, as is "multi-colored", which I do not mean to equal our 
modern day tartans/plaids.

> >>>>
>Oh, and that James wore a velvet
>jacket. That may be the way to go, use fine wools and velvets to set
>yourself apart from the kerns, along with a fine multi-colored
>cloak/plaide
>or trews.
> >>>>
>I would also discourage this kind of stereotyping.  The association of
>the Highland Scots with plaid/tartan is not something that happened
>until centuries later.  If Joe wants to portray a Highland noble, his
>best bet is to wear contemporary English clothing.  Not something that
>was worn by Irish mercenaries.
> >>>>

I wrote plaide for a reason. I did not mean tartans or plaids, as we know 
them. a plaide is another term for a cloak or blanket, as there is a song 
of a man asking a girl to sit under his plaide (pla-de). I am sorry, I 
should have clarified that a bit better. The different authors of the time 
write often of multi-colored garments, including a "mantle or plaid 
(couverture)", as noted under Jean de Beaugue 1548-9. What those garments 
actually were dyed in multi-color is unknown. Coulda been tie-dyed for all 
we know (j/k)

>I'm afraid there were no Brehon Laws in the 16th century, Kimiko.  The
>laws that dictated how many colours a person of a certain class may wear
>is ancient and is not known to have been adhered to in the Common Era,
>and certainly not since the Norman Conquest in the 12th century.

Ok, that's fine. Answers why I couldn't find it for that time period.

>It would be nice if we could use all the widespread knowledge on Irish
>dress together to form one consistent idea of what they wore.  But you
>simply can't apply pre-historical laws and sixth century decorative
>techniques to 16th century garments and expect to come up with a viable
>representation of mid-16th century clothing.

Ah, I agree, but so many people do. Not saying it is right, just that until 
something better and more informative comes along for re-enactors, we tend 
to use what is available to us.


>Kass McGann
>Reconstructing History

Thanks Kass for clarifying so many things. I often used your site years ago 
when I did Scottish re-enactment, and I am seeing that you, along with me, 
and many others on this list, have taken to improving on our knowledge of 
what re-enactment clothing should be. Like Maya Angelou often says, "You do 
the best you can with what you know, and when you know better, you do 
better." or something like that.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com


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Date: Thu, 18 Sep 2003 19:02:50 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Reconstructing History Patterns
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Ok, that caught my eye. I hadn't been reading for a few days, as I am 
getting ready for a trip.

Thank you Kass for making Irish garment patterns. I had made a Shinrone 
gown years ago as an experiment, and some people had asked me if there was 
a pattern for it. Now I can send them to you.

I am wondering, will you be actually having all 20+ panels in the skirt? 
That is the one area that really bogged me down was all the panels in that 
skirt.

And how do you deal with the opening in the front? And how it doesn't 
support anyone in the front, at least not on its own? I know it doesn't 
actually close in the front, so I wore a corset underneath, as I am a 
larger woman. Actually, the dress was made when I was thinner, but I am 
still full chested.

I can't wait to see the Irish patterns. It will be nice to see more people 
at faire dressed in historically-based clothing. Thanks again!

Kimiko

Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Thu, 18 Sep 2003 22:18:05 -0400
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And I like what you have done in your experiments with the dyes. Similar
to 
a friend who decided to find a commonly available pink and dyed with 
berries to prove her point. And another who got a nice purple from
Scottish 
lichens.
>>>>
It is AMAZING what colours lichens make.  Such an unassuming little
fungus...
>>>>
Ah, I agree with the Irish having their own "saffron" as a color, as I 
found in my own research on the color. As to saffron being associated
with 
the rich, that comment comes from _Old Highland Dress and Tartans_,
where 
the author lists various authors of the time whose commentary on the 
saffron color is listed. Gordon of Straloch in 1594 describes that "the 
great" sometimes dyed with saffron. I probably thought that "the great" 
could be construed with wealth, or someone of high standing or power. 
Bishop Lesley in 1578 notes that the linen shirts are "dyed with saffron

among the rich, smeared with grease among the poor." Saffron colored is 
highly noted, as is "multi-colored", which I do not mean to equal our 
modern day tartans/plaids.
>>>>
Yes, and my point is that these are all English writers.  And oftentimes
it is rather obvious that they are reiterating what each other said and
not adding anything new.  I am of the distinct opinion that the idea
that saffron shirts = wealth came from an English misperception, not
Irish reality.  My opinion is based on the fact that the men depicted
wearing léinte croich (saffron shirts) are not wealthy men, but
mercenary foot soldiers.  The same English authors who describe the
shirt as being expensive describe these kern as being lower class.  So
this leads me to believe that one or both of their assumptions are
incorrect.

Henry the VIII outlawed the use of saffron as a dye in Ireland by Act of
Parliament in 1537.  We presume this is because he thought the Irish
were dressing above their station.  The fact that we have references
well into the 17th century describing "saffron-dyed shirts" tells me one
of two things:  (A) that the law didn't work or (B) that they weren't
dyeing anything with saffron in the first place.  There's evidence to
support both theories.
>>>>
I wrote plaide for a reason. I did not mean tartans or plaids, as we
know 
them. a plaide is another term for a cloak or blanket, as there is a
song 
of a man asking a girl to sit under his plaide (pla-de). I am sorry, I 
should have clarified that a bit better. The different authors of the
time 
write often of multi-colored garments, including a "mantle or plaid 
(couverture)", as noted under Jean de Beaugue 1548-9. What those
garments 
actually were dyed in multi-color is unknown. Coulda been tie-dyed for
all 
we know (j/k)
>>>>
True!  ;)  Sorry, I just saw "plaid" and thought, "Not another Catholic
School girl's uniform-wearing Highlander!"  "Lookie me, lads!  I'm a
Highlander!  Can't you tell by my Royal Stuart undies?!"  Can you
imagine!
>>>>
Ok, that's fine. Answers why I couldn't find it for that time period.
>>>>
Yup.  Glad to have cleared that up for you.  
>>>>
Ah, I agree, but so many people do. Not saying it is right, just that
until 
something better and more informative comes along for re-enactors, we
tend 
to use what is available to us.
>>>>
This is one of the reasons I don't do 15th century Irish.  The 15th
century is really my favourite period in history, and I would have loved
to have given my impression an Irish twist.  But we don't know enough
about 15th century clothing in Ireland to do that.  So I don't do it.  I
do the period about which we know the most -- late 16th century.  The
availability of information dictates what impression I do.

But when someone talks about celtic knotwork embroidery or something
10th century for use with a 16th century outfit, I go kinda narky.  I
feel like I have to throw myself in front of this speeding train and
save the people on board before they plummet into mis-matched period
clothing hell!!!  Mwah ha ha!  ;)  I'm just a glutton for out-of-control
speeding trains...
>>>>
Thanks Kass for clarifying so many things. I often used your site years
ago 
when I did Scottish re-enactment, and I am seeing that you, along with
me, 
and many others on this list, have taken to improving on our knowledge
of 
what re-enactment clothing should be. Like Maya Angelou often says, "You
do 
the best you can with what you know, and when you know better, you do 
better." or something like that.
>>>>
That's for sure.  This is the Historic Costume list after all.
Reenactment clothing should never be based on fantasy or out-of-date
information.  I was having a discussion on another list yesterday where
we agreed that we in Living History know we will never get it perfectly
correct.  But the reason we are in this hobby is to keep striving, to
keep getting closer to that perfection even though we know it's
impossible to attain it.

Kass


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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Reconstructing History Patterns
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Thank you Kass for making Irish garment patterns. I had made a Shinrone 
gown years ago as an experiment, and some people had asked me if there
was 
a pattern for it. Now I can send them to you.
>>>>
Sure thing, Kimiko.  That's what I'm here for.
>>>>
I am wondering, will you be actually having all 20+ panels in the skirt?

That is the one area that really bogged me down was all the panels in
that 
skirt.
>>>>
The pattern will contain a reenactor's version with all the panels and a
costumer's version with fewer, larger panels.  How's that?
>>>>
And how do you deal with the opening in the front? And how it doesn't 
support anyone in the front, at least not on its own? I know it doesn't 
actually close in the front, so I wore a corset underneath, as I am a 
larger woman. Actually, the dress was made when I was thinner, but I am 
still full chested.
>>>>
Well, m'dear, you're just going to have to wait and see the answer to
that one.  ;)
>>>>
I can't wait to see the Irish patterns. It will be nice to see more
people 
at faire dressed in historically-based clothing. Thanks again!
>>>>
I look forward to it too.  =)

Kass

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Date: Thu, 18 Sep 2003 22:22:42 -0500
From: Joe Robertson <joedr@charter.net>
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Wow! What a response.
   I think to lock down a wardrobe correctly, then perhaps a brief
history of my people is in order.
   My ancestors really were nobles and wealthy barons of the Clan
Donnachaidh. They were a warlike highland clan with considerable lands
in the Perthshire region, and they constantly opposed the English crown
through the centuries.  See, I do have a little vested interest in this
period/persona. :o)   It's my own history.
   The highlanders, according to the texts I've read, dressed like their
Irish brethren and were slow to adopt English fashion. It is perfectly
reasonable to assume that the well to do kept English fashion handy for
trips to court, that is if they visited court at all. The lowlanders
were probably more attuned to English dress, due to their proximity to
the border and English influence, but that influence thinned as one
entered the highlands. My people shunned the court system in favor of
the feudal tribalism of the clans. Would they be so likely to wear
English fashion then?
   Also, the highlanders were considered by the English as backwards and
primitive country hicks, 50 years behind "modern" times. Although
contemporary fashion eventually found its way there, it was probably
dated. The ability the wealthy had to travel around to other lands might
have stayed this a bit.
   As to nobles wearing a leine, of course they did. Leine simply means
"shirt" in gaelic. The wealthy could generally afford more fabric, and
it did seem in vogue to have monster shirts in the mid 1500's. Earlier
texts and drawings show leinte more like the Rogart shirt, which was
less voluminous. The ancient celts' leinte were generally mid thigh
length and worn with trews, but that is WAY out of period.
   I'm guessing at leinte embroidery during this time period. Everything
I've seen has shown it plain, but none were of nobility. Most seem to be
that buttery saffron colour mentioned. I've seen the ionar on the kern
heavily ornamented, so it would read that the wealthy might do the same.
King James' highland clothes included a long shirt (sewn together with
red or green silk thread), a "variegated" velvet ionar with a green
taffeta lining, and trews. There were also ribbons on there somewhere as
ornamentation.
   It's hot here in Texas, so I'm not going to wear woolen trews. I'm
pushing it with the brat and ionar. The point is, I'm starting from
scratch and need your help in pulling it together. I am NOT a costumer,
nor is the lass. It's going to get interesting when she comes on here to
start her wardrobe.
Slainte,
Joe
---
Joe Robertson, Psy.D.
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Date: Thu, 18 Sep 2003 20:40:29 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] The 16th century leine
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Hi Kass,

> >>>>
>Yes, and my point is that these are all English writers.  And oftentimes
>it is rather obvious that they are reiterating what each other said and
>not adding anything new.  I am of the distinct opinion that the idea
>that saffron shirts = wealth came from an English misperception, not
>Irish reality.  My opinion is based on the fact that the men depicted
>wearing léinte croich (saffron shirts) are not wealthy men, but
>mercenary foot soldiers.  The same English authors who describe the
>shirt as being expensive describe these kern as being lower class.  So
>this leads me to believe that one or both of their assumptions are
>incorrect.

My Irish friend had a perspective on those kerns described as being "poor". 
He noted that the same images have them carrying weapons about. Well 
weapons aren't cheap. He also compared them to the German mercenaries, who 
often wore very fine clothes, that they got from the villages they 
pillaged, or the silk tents that apparently started the whole cut and slash 
craze. I don't do German, I just get my info from another friend, who is a 
major history costume type like us, she does German.

Anyway, why are they considered "poor"? That was the point he was trying to 
make to me. They have weapons, which cost money. They are shown with 
decorations on their ionars/jackets, which if you were poor you wouldn't 
have time to decorate your clothing, or have the money for the threads, 
would you? And they were often noted as being "naked", then described as 
wearing their leines, but that is considered "naked" to these English 
authors who are suited to the gills. I personally agree with the direction 
my friend was taking. That what the English consider poor, and what the 
Irish consider as poor, are two different perspectives, and we may never 
know what the real Irish poor wore.

>Henry the VIII outlawed the use of saffron as a dye in Ireland by Act of
>Parliament in 1537.  We presume this is because he thought the Irish
>were dressing above their station.  The fact that we have references
>well into the 17th century describing "saffron-dyed shirts" tells me one
>of two things:  (A) that the law didn't work or (B) that they weren't
>dyeing anything with saffron in the first place.  There's evidence to
>support both theories.

I had thought it was because Henry was trying to suppress anything Irish, 
and saffron colored clothing, especially the leine and other items, were 
distinctly an Irish mode of dress. I also thought he was trying to force 
the Irish to become more English in dress and thought, which was shown in 
the history of the time. It was interesting that he had to outlaw it twice, 
I think it was, and it seems that it wasn't working outside the Pale. I 
will also say this is an opinion formed years ago from conversations with 
my Irish playing friends and their knowledge of history and costume, one of 
which is a Professor of Irish history, so I am under the presumption they 
knew what they spoke of in history.

And _Dress in Ireland_ notes that dyes imported during the 16th c. include 
saffron, orchell, madder and woad. I don't see where the author gets that 
specific info from, although she does have pretty extensive notes in the 
back in general.

I wanted to ask you. Are you presuming saffron was expensive back then, 
because it is so expensive now? I know prices of anything can fluctuate 
depending on supply and demand. Perhaps the supply was larger then because 
of all the dyeing, than now, and the prices were more reasonable at that 
time. Just curious.

> >>>>
>True!  ;)  Sorry, I just saw "plaid" and thought, "Not another Catholic
>School girl's uniform-wearing Highlander!"  "Lookie me, lads!  I'm a
>Highlander!  Can't you tell by my Royal Stuart undies?!"  Can you
>imagine!
> >>>>

Oh, I know, not to mention all the regimental jokes, or people asking if we 
were the Black Watch. We knew years ago when we wore tartans and kilts that 
it wasn't historically accurate. However we wanted to distinguish ourselves 
from the Irish in the mind of the public, and that is what the public 
understands. Nowadays, the major highland regiment/guild I know of dress 
just like the kerns in the images, and they look shabby and poor, but with 
nice shiny weapons. And people often think they are Irish, even other 
re-enactors.

> >>>>
>This is one of the reasons I don't do 15th century Irish.  The 15th
>century is really my favourite period in history, and I would have loved
>to have given my impression an Irish twist.  But we don't know enough
>about 15th century clothing in Ireland to do that.  So I don't do it.  I
>do the period about which we know the most -- late 16th century.  The
>availability of information dictates what impression I do.

That I can understand. There is so little as it is on Irish in general, and 
less so specifically on Scots, which is what my focus was.

>But when someone talks about celtic knotwork embroidery or something
>10th century for use with a 16th century outfit, I go kinda narky.  I
>feel like I have to throw myself in front of this speeding train and
>save the people on board before they plummet into mis-matched period
>clothing hell!!!  Mwah ha ha!  ;)  I'm just a glutton for out-of-control
>speeding trains...

Ok, I understand. My background is similar, and I have been dubbed a 
costume Nazi in my lifetime, although I am nowhere near as bad as I could 
be. I will share info on what I have seen others do, as I don't consider 
myself someone who knows everything. I know that as soon as I think that, 
someone else will show me just where I messed up, and that's cool because 
then I learn.

>That's for sure.  This is the Historic Costume list after all.
>Reenactment clothing should never be based on fantasy or out-of-date
>information.  I was having a discussion on another list yesterday where
>we agreed that we in Living History know we will never get it perfectly
>correct.  But the reason we are in this hobby is to keep striving, to
>keep getting closer to that perfection even though we know it's
>impossible to attain it.
>
>Kass

I can fully agree. It is amazing how much better Living History people are 
dressing, for all the research that people have done over the years. Take 
the Shinrone gown for example. I kept hearing stories of how it was 
supposed to look like, and people made dresses based on various ideas, but 
didn't have any pic or full description of it. I went on a hunt, found a 
book in a college library 200 miles away, and photocopied the two pages in 
the book. I made mine based on a pic of just the front of the gown, and the 
description. I didn't know what the back looked like. Now, online, there is 
much more info on what the gown looked like, front and back, and people 
have made replicas on them and shared all that info.

And I wanted to say it's been wonderful finding other people like you, on 
this list, that I can enjoy chatting the details of such a small thing as 
saffron and Irish clothing, and have it be an enjoyable conversation. I 
just hope I haven't bored the rest of you all.

Thanks!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Thu, 18 Sep 2003 23:56:19 -0400
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Hi Joe,
>>>>
It's my own history.
>>>>
So it's important for you to do things correctly.  I see...
>>>>
The highlanders, according to the texts I've read, dressed like their
Irish brethren and were slow to adopt English fashion. It is perfectly
reasonable to assume that the well to do kept English fashion handy for
trips to court, that is if they visited court at all. The lowlanders
were probably more attuned to English dress, due to their proximity to
the border and English influence, but that influence thinned as one
entered the highlands. My people shunned the court system in favor of
the feudal tribalism of the clans. Would they be so likely to wear
English fashion then?
>>>>
Let me ask you this?  What did the Scottish Kings wear?  It's my
impression that they wore English court fashions.  If you want to wear
the clothing of the Scottish nobility of this period, look at your King
and copy him.
>>>>
Also, the highlanders were considered by the English as backwards and
primitive country hicks, 50 years behind "modern" times. Although
contemporary fashion eventually found its way there, it was probably
dated. The ability the wealthy had to travel around to other lands might
have stayed this a bit.
>>>>
So were the Irish.  Matter of fact, the 16thc English often complained
that the Irishwomen wouldn't stop wrapping their heads in linen and wear
nice caps like the English did.  The English thought the Irish were
copying a Turkish style turban or something.  But they were actually
still wearing the linen wraps popular in 15th century England.  The
English just didn't recognize them 100 years out of date.

If you go back far enough in history, you see that the Irish and
Highland Scots weren't really wearing anything new (well, at least not
until that kilt think in the 18th century...<wink>).  They were just
wearing clothing that was 50-100 years behind the times and it looked
foreign to their contemporaries.  Kinda like the Amish look odd to us.
>>>>
As to nobles wearing a leine, of course they did. Leine simply means
"shirt" in gaelic. 
>>>>
I meant did they wear the garment we call "the léine"?  Of course they
wore shirts.  Everyone wore shirts.  The question is did they wear big
yellow shirts with huge sleeves and bloused down to their knees?
Otherwise, I wouldn't call it a léine.
>>>>
The wealthy could generally afford more fabric, and
it did seem in vogue to have monster shirts in the mid 1500's. Earlier
texts and drawings show leinte more like the Rogart shirt, which was
less voluminous. The ancient celts' leinte were generally mid thigh
length and worn with trews, but that is WAY out of period.
>>>>
The Ancient Celts didn't wear léinte...  ;)
>>>>
I'm guessing at leinte embroidery during this time period. Everything
I've seen has shown it plain, but none were of nobility. 
>>>>
Doesn't it follow, then, that the nobility didn't wear these voluminous
shirts we call léinte?  I'm inclined to think that they did not.  I
caution you about taking lack of evidence that something didn't exist as
proof that it did.  Very shakey ground, Joe...
>>>>
Most seem to be that buttery saffron colour mentioned. I've seen the
ionar on the kern heavily ornamented, so it would read that the wealthy
might do the same.
>>>>
If the wealthy wore léinte and ionar at all.  In all my research, the
léine and ionar seem to be the clothing of professional soldiers, not
nobility.

The ionar were indeed heavily decorated.  But they appear to be tooled
leather, not embroidered cloth.  Think about it.
>>>>
King James' highland clothes included a long shirt (sewn together with
red or green silk thread), a "variegated" velvet ionar with a green
taffeta lining, and trews. There were also ribbons on there somewhere as
ornamentation.
>>>>
You see, I think you should replicate this and not try embroidering your
léine.  Plus, I'm inclined to think that the "ionar" is more like a 16th
century doublet or jerkin.  The records say "short jacket".  Are we sure
this is an ionar?  I'm not.

And his long shirt was only made of only 7-1/2 ells of fabric.  That's
about over two and a half yards in modern terms.  You would think that
if the King wanted a huge léine, he would have had one.  But this isn't
enough fabric for the léine I've come to know and love... ;)
>>>>
It's hot here in Texas, so I'm not going to wear woolen trews. 
>>>>
Ever heard of "tropical weight wool"?  It's worth a try...
>>>>
I'm pushing it with the brat and ionar. The point is, I'm starting from
scratch and need your help in pulling it together. I am NOT a costumer,
nor is the lass. 
>>>>
Nor am I...
>>>>
It's going to get interesting when she comes on here to
start her wardrobe.
>>>>
We might have patterns for her by then.  =)

Kass


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The Galloglach
   I feel that it's important to mention the Galloglach at this point.
They were well trained, well equipped, and highly feared.  Kern were the
foot soldiery of the Galloglach ranks, and were generally of lower
social standing than the horsemen. The mounted Galloglach warriors were
written of as all being of good name from noble households. They were
also described as having one or more horses and two attendants to carry
their provisions and armament.
   Comprised mainly of Scottish clansmen of the western highlands, they
were feared mercenaries in the employ of the Irish warlords. Robert the
Bruce himself landed in Ireland with a huge contingent of Galloglach
troops after defeating the English in medieval times. To say that they
were armed to the teeth was an understatement.  Most imagery I have seen
of them includes mail shirts, helmets, swords, dirks and axes...all of
which cost some bucks. A witness stated that this was worn over the
padded saffron shirt (probably a gameson), which was "a badge of
chieftains". I guess their fees as mercenaries were quite high,
affording them the ability to arm, dress and train in a manner that made
them the bad boys to have on your side.
   Every photo or picture I've seen shows many of the kern and
Galloglach wearing saffron leinte. Many also wear ionars and most have a
brat.
Aye,
Joe
---
Joe Robertson, Psy.D.
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Subject: Re: [h-cost] The 16th century leine
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>The Galloglach
>    I feel that it's important to mention the Galloglach at this point.
>They were well trained, well equipped, and highly feared.  Kern were the
>foot soldiery of the Galloglach ranks, and were generally of lower
>social standing than the horsemen. The mounted Galloglach warriors were
>written of as all being of good name from noble households. They were
>also described as having one or more horses and two attendants to carry
>their provisions and armament.
>    Comprised mainly of Scottish clansmen of the western highlands, they
>were feared mercenaries in the employ of the Irish warlords. Robert the
>Bruce himself landed in Ireland with a huge contingent of Galloglach
>troops after defeating the English in medieval times. To say that they
>were armed to the teeth was an understatement.  Most imagery I have seen
>of them includes mail shirts, helmets, swords, dirks and axes...all of
>which cost some bucks. A witness stated that this was worn over the
>padded saffron shirt (probably a gameson), which was "a badge of
>chieftains". I guess their fees as mercenaries were quite high,
>affording them the ability to arm, dress and train in a manner that made
>them the bad boys to have on your side.
>    Every photo or picture I've seen shows many of the kern and
>Galloglach wearing saffron leinte. Many also wear ionars and most have a
>brat.
>Aye,
>Joe

Are the words "Galloglach" and "Gallowglass" related?  Both, I seem to 
recall, are names for mercenaries.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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> The question that springs to my mind is would a nobleman have worn a
> léine at all?  Remember, our only evidence of them in this period is
> on mercenary soldiers.  The nobility in Ireland tended to follow
> English fashions, albeit with an Irish flair.  I would suspect the
> Highland Scottish nobles did much the same.

The Scottish nobles in the 16th century probably had more French than 
English influence. They had very close ties at that time (including a 
Queen who came from France followed by a Queen in her own right who 
was educated in France.) Woodcuts from the time (such as one I have 
in my slide collection) show Scottish nobles wearing the same styles 
seen in both England (which had quite a bit of French influence) and 
France.

This held true in the Highlands even up to and including the Highland 
Clearances. There is one family painting showing the children of a 
Highland laird playing and they are wearing kilts (which were 
probably not worn in the 16th C, and definitely not the "little 
kilt") and European clothing (mixed.)

Kat
<kat@redtrollforge.com>



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Ok, now.
   Most certainly the ancient celts didn't wear what we commonly refer
to as the leine. I tend to think in modern gaelic terms rather than what
most think of as the garment you described, which I also love.
   I've seen description of an 11th century chieftain's clothing that
lists his "brilliant white silk shirt" being embroidered about the neck,
which enhanced his appearance. I think they even called the thing a kilt
instead of a shirt, for crying out loud. This is also the passage that
mentions the "five folded cloak". I had little intention of having my
16th century highland shirt embroidered unless history dicated so.
That's why I'm here. To learn.
   I believe you may be right about King James' jacket. There's no
evidence that it was an ionar, so it very well may have been some sort
of jerkin or a doublet. This wardrobe is going to get expensive quickly,
I see. :o)
   Please understand that I'm a doctor of psychology, not a historian,
and I tend to view things with a sense of social dynamics. This can have
little to do with what actually occurred in times past. So little is
known about the clothing from this time that it invites much
interpretation and educated "guesswork" from those who travel down its
path. I'm drawing from what I've read, what I've been told, and what
I've learned from my education.
   You are very right about me. I like to do things correctly the first
time, even if that means going to the faire in a period green gumby suit
with a polka dot plaid brooched at my right shoulder.
....and I routinely wear kilt  to my clan events. I wouldn't trade for
it. :o)
Joe
---
Joe Robertson, Psy.D.
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Hi Carolyn,
   They are indeed the same. Galloglass is the anglicized form of the
word. Think gaelic.
Aye,
Joe
---
Joe Robertson, Psy.D.
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> Henry the VIII outlawed the use of saffron as a dye in Ireland by Act
> of Parliament in 1537.  We presume this is because he thought the
> Irish were dressing above their station.  The fact that we have
> references well into the 17th century describing "saffron-dyed shirts"
> tells me one of two things:  (A) that the law didn't work or (B) that
> they weren't dyeing anything with saffron in the first place.  There's
> evidence to support both theories. 

It probably was a little of both.

Heaven only knows that there are enough plants in the British Isles 
that make all sorts of yellows.

But when you talk about what the wealthy were doing, they probably 
*were* dyeing with saffron. The cost to dye a regular shirt with real 
saffron would have been prohibitive! Even if they had tons of it 
growing in their country, what makes it expensive is the labor 
intensiveness of the dye. Each flower has to have the yellow 
stamen/pistol snipped off (as this is the dye bearing part of the 
plant) and then it takes pounds of these little things to make the 
dye itself. This would probably have been used instead of 
embroidering it to show off wealth.

It always seems to me that modern people want to put embroidery on 
things to denote wealth more than they would have done in the middle 
ages and renaissance. However, even the non-wealthy could have 
embroidery, since it was a cottage craft. 

What they couldn't afford was fine fabrics dyed with expensive 
dyestuffs. So, it is much more likely that to denote wealth they 
would have used finer fabrics than the hoi poloi as well as the more 
expensive dyes.

As to Henry's prohibition of saffron, it wasn't just Ireland where it 
was prohibited. Some have said that it was to make sure that the 
sheets were white so that he could tell if they were actually clean 
or not. ;)

Kat
<kat@redtrollforge.com>


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Date: Thu, 18 Sep 2003 23:58:01 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] The 16th century leine
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Hi Joe,

I think we have presented much of the info we know about the 
highlanders/islanders and Irish. I know you have good books similar to what 
I have, if not more on certain subjects. I think the answer you are looking 
for is in front of you, with what people so far have presented. It is now 
up to you to decide what direction YOU want to go from here. How historical 
do you want to be with what little we have?

You speak of the Galloglach, but are those highland chiefs? You want to go 
with a highland chiefs, but I have yet to find specific info on what 
specifically they wore, other than the presumption they went with their 
kissing cousins the Irish, more than lowland or even courtly dress, French 
or English inspired. And the knowledge of women's clothing is even less.

I agree also that the h/i chiefs would not dress in the English/French 
court fashion, unless they were visiting court, or had court visiting them. 
There is a MacLeod story about the Clan Chief entertaining King James (IV I 
think), and the dinner "table", and "candlesticks" were much different than 
what the King was used to (a land plateau/butte and men in armor holding 
flaming torches). The perspective of wealth is different among the Scots 
and Irish, than the "more civilized" English.

So, presuming they dressed more like the Irish lords, I would suggest going 
with a saffron colored linen leine, with your choice of length and style. I 
presented one different style to you, and there are other full bodied 
versions like in Kass's patterns. Embroidery during this time is not seen 
on a leine, at least on the ones we have images of. But then such details 
as necklines are sometimes missing from the woodcuts as well, so it may or 
may not mean anything. Decorations on the ionar (as I call such jackets) 
may indeed be tooling of the leather, or something else, including possible 
painting/dyeing of leather.

I can tell you what I have seen, and recommend things to you that will work 
for re-enactment purposes, but they may or may not be historically 
accurate. But that decision of how accurate you want vs what pleases your 
sense of clan, history or fashion sense is up to you.

I do re-enact in Central California. Our temps in the summer range from 
upper 90s to the 113 F weekend from hell. We do hot a lot, and yet wool is 
surprisingly comfortable as long as it is lightweight worsted wool, like 
Kass' suggestion. Woolen wool traps air, which is wonderful for keeping you 
warm in the winter, but I don't recommend it for the summer. However, I do 
know of many German mercenaries who do wear the thick wool during the 
summer, and they survive it somehow. Linen is wonderful for keeping you 
comfy. And silk is an option. My friend wore silk trews under his linen and 
wool outfit, and is pretty happy with them. I think they were of the "raw" 
silk type (the actual silk term is escaping me right now), and he found the 
material relatively inexpensively at an Indian store. I do also note that 
most description of trews comment on them being worn during the winter, and 
there is comments about wearing short hose to the knee otherwise in some of 
the records.

I do strongly suggest from personal experience do not use wool blends with 
anything manmade. I nearly passed out one faire because I did, and will 
never wear that outfit again.

I also sew and make patterns (custom, not commercial), and I am willing to 
share whatever knowledge I have, but I need a direction from you on that. 
What do you want? What do you not want? What haven't we covered that you 
still need answered? Where can we go from here for you? And since you don't 
do costumes, do you have someone near you that does and can help you? What 
do the other people in the group you involve yourself with wear? How 
accurate are they? How much do you want to appear similar or different from 
them?

Kimiko

PS
I will be heading out of town Friday afternoon, but am willing to discuss 
this further when I get back on Sunday.

Take it easy all!!


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Date: Fri, 19 Sep 2003 00:03:07 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] The 16th century leine
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Hi all,

At 11:56 PM 9/18/2003 -0400, you wrote:
>Earlier texts and drawings show leinte more like the Rogart shirt, which was
>less voluminous. The ancient celts' leinte were generally mid thigh
>length and worn with trews, but that is WAY out of period.
> >>>>
>The Ancient Celts didn't wear léinte...  ;)

Hmmm... mid thigh length with trews... there are woodcuts showing just this 
very "description" from 1577 and 1581, so I would say it was rather vague. 
I have little idea what Ancient Celts wore. Not my period.

> >>>>
>I'm guessing at leinte embroidery during this time period. Everything
>I've seen has shown it plain, but none were of nobility.
> >>>>
>Doesn't it follow, then, that the nobility didn't wear these voluminous
>shirts we call léinte?  I'm inclined to think that they did not.  I
>caution you about taking lack of evidence that something didn't exist as
>proof that it did.  Very shakey ground, Joe...
> >>>>

I think we need to clarify the term "nobility". If one means the Scottish 
noble courts of King James (iv or v) or Queen Mary, I believe they wore 
garments more like the French or English courts, depending on the Queen and 
fashion. If one means the highland/island (h/i) chiefs, then who knows. I 
have yet to see anything specific on them, except stories that don't 
include descriptions of dress that is clear.

>Most seem to be that buttery saffron colour mentioned. I've seen the
>ionar on the kern heavily ornamented, so it would read that the wealthy
>might do the same.
> >>>>
>If the wealthy wore léinte and ionar at all.  In all my research, the
>léine and ionar seem to be the clothing of professional soldiers, not
>nobility.

I agree, provided we mean Nobility as King's Court nobility. What little I 
have seen of Irish chiefs, they seem to wear leather outfits. hose and 
Irish mantle. The question is, did the h/i lairds/chiefs wear the same as 
the Irish chiefs? And yes, I should be saying chiefs I think, not lairds. 
Old habit.

>The ionar were indeed heavily decorated.  But they appear to be tooled
>leather, not embroidered cloth.  Think about it.

I think it could go either way, tooled, painted, fringed, embroidered. I 
think we have to determine if they were indeed leather or possibly wool. 
And would a chief/laird wear wool or leather when not at war?

> >>>>
>King James' highland clothes included a long shirt (sewn together with
>red or green silk thread), a "variegated" velvet ionar with a green
>taffeta lining, and trews. There were also ribbons on there somewhere as
>ornamentation.
> >>>>
>You see, I think you should replicate this and not try embroidering your
>léine.  Plus, I'm inclined to think that the "ionar" is more like a 16th
>century doublet or jerkin.  The records say "short jacket".  Are we sure
>this is an ionar?  I'm not.
>
>And his long shirt was only made of only 7-1/2 ells of fabric.  That's
>about over two and a half yards in modern terms.  You would think that
>if the King wanted a huge léine, he would have had one.  But this isn't
>enough fabric for the léine I've come to know and love... ;)

The note is "15 ells of 'Holland claith to be syde (long or hanging low) 
Heland Sarkis' at 8/- the ell". They had "4 ells of 'rubanis (ribbons) to 
the hands of thame' ". There is a note that it is supposed to be two or 
more shirts sewn with silk, with ribbons at the wrists. And it is noted 
that this is not enough to pleat, or more material would have been needed. 
This is from _Old Highland Dress and Tartans_.

I would suggest not going with what the King wore, unless it is clear that 
your clan's chief of the time was close to the Scottish Court. Most h/i 
chiefs thumbed their noses at the Scottish Kings and flaunted their powers 
in his face. Why would they dress like him?

Something my Irish bard friend did, instead of embroidery, was when he hand 
sewed his yellow garments, he used a bright red silk thread as a top 
stitching, giving it a bit of pizzazz but not embroidery per se. A suggestion.

My mind is fuzzing, and it is time for sleep. I will ponder this some more 
and see if I can find anything I have overlooked. It's been several years 
since I read my books, so I am just skimming right now.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com


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>>> historian@reconstructinghistory.com 09/18/03 11:33pm >>> wrote:

>Kate, there will be two versions of the Hollar cap in the Caps
pattern.
>And I believe Grannd.com sells to the UK.  Whether my distributor
will
>sell to retail sites in the UK is another matter, but I definitely
will
>suggest it.

I'm hoping our reenactors' traders may eventually stock them. I'll make
some enquiries within the society I belong to.


Kate Bunting
Library, University of Derby
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Where to go to get patterns printed? Are there places in Britain and Europ? We're thinking of doing our faery costumes, so many people ask for a pattern.

Elizabeth Hervey


h-costume-request@indra.com wrote:
Date: Thu, 18 Sep 2003 17:22:32 -0700

From: Margo Anderson <margo@margospatterns.com>

Subject: Re: [h-cost] Reconstructing History Patterns

To: Historical Costume <h-costume@indra.com>,

<h-costume@net.indra.com>

Message-ID: <3.0.6.32.20030918172232.00cad8b0@pop.directcon.net>

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Congratulations, Kass! It seems like jsut yesterday we were emailing back and forth, trying to figure out where to get patterns printed. I'm here to tell you, running an independent pattern company comes second only to motherhood for hard work, but unlike motherhood, the rewards can be material as well as spiritual. Best of luck to you!

Margo

"One Tough Costumer"

www.margospatterns.com

=== message truncated ===


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From: "Kass McGann" <historian@reconstructinghistory.com>
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Subject: RE: [h-cost] The 16th century leine
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Kimiko wrote:
<<I think we have presented much of the info we know about the 
highlanders/islanders and Irish. I know you have good books similar to
what 
I have, if not more on certain subjects. I think the answer you are
looking 
for is in front of you, with what people so far have presented. It is
now 
up to you to decide what direction YOU want to go from here. How
historical 
do you want to be with what little we have?>>

Kimiko is giving you some good advice here, Joe.
But I must disagree with this statement: 
<<I can tell you what I have seen, and recommend things to you that will
work for re-enactment purposes, but they may or may not be historically
accurate.>>

Reenactment is by definition historically accurate.  Without historical
accuracy, you can certainly make a costume and act like a character
you've invented.  But you are not reenacting anything.

Reenactors aren't perfect.  But we have to be as historically accurate
as possible or we just end up being the tellers of tall tales.

Kimiko also said:
<<I do strongly suggest from personal experience do not use wool blends
with anything manmade. I nearly passed out one faire because I did, and
will never wear that outfit again.>>

This is excellent advice!  In Pennsylvania, we also have three-digit
weather in the summer.  But I wear wool all summer long.  I wouldn't
wear a wool blend if you put a gun to my head.  Even a 10% polyester or
nylon addition makes a terrible difference.

But I wouldn't make a pair of raw silk trews.  Number one, I'm a purist
and we have no documentation to support the use of noil (I'm assuming
that's the word you were looking for, Kimiko) as a fabric in Ireland at
this time.  Trews were always wool.  But Kimiko is correct in that trews
were mostly a winter item.  In the summer, the Highlanders and Irish
were remarked upon as going bare-legged (and often barefooted as well).
Number two, silk traps heat in a way that wool does not.  A lightweight,
"summer" wool will make you a pair of trews that feel as light as
cotton.  But again, you probably shouldn't wear trews in the summer
anyway.

I hope we're helping you make some good decisions about your outfit,
Joe.

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
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It always seems to me that modern people want to put embroidery on 
things to denote wealth more than they would have done in the middle 
ages and renaissance. However, even the non-wealthy could have 
embroidery, since it was a cottage craft. 

What they couldn't afford was fine fabrics dyed with expensive 
dyestuffs. So, it is much more likely that to denote wealth they 
would have used finer fabrics than the hoi poloi as well as the more 
expensive dyes.
>>>>
Good point, Kat.  Thank you!
>>>>
As to Henry's prohibition of saffron, it wasn't just Ireland where it 
was prohibited. Some have said that it was to make sure that the 
sheets were white so that he could tell if they were actually clean 
or not. ;)
>>>>
That's probably one of those "picking on the Irish" things.  According
to the records we have, the Irish probably bathed more often than the
English did.  There's also mention that the Irish "washed" their shirts
in saffron to keep lice away.  But we know today that saffron has
absolutely no pesticide properties.  It's just propaganda.  Interesting
though, isn't it?

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Reconstructing History Patterns
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There are a number of different routes to take, Elizabeth, and I'm
afraid neither Margo nor I can help you with UK and European printers as
we're both in the US.

Try contacting UK or European pattern producers.  Sometimes they will
print small runs for "independent designers" as they call us.  Also talk
to local print shops.  Anyone who does large-scale printing should be
able to accommodate your needs.

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of elizabeth hervey
Sent: 19 September 2003 5:07 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Reconstructing History Patterns


Where to go to get patterns printed? Are there places in Britain and
Europ? We're thinking of doing our faery costumes, so many people ask
for a pattern.

Elizabeth Hervey

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Fri, 19 Sep 2003 06:59:17 -0400
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Hi Kimiko,
>>>>
I wanted to ask you. Are you presuming saffron was expensive back then, 
because it is so expensive now? I know prices of anything can fluctuate 
depending on supply and demand. Perhaps the supply was larger then
because 
of all the dyeing, than now, and the prices were more reasonable at that

time. Just curious.
>>>>
No.  I'm presuming saffron was expensive back then because the English
writers saw the use of saffron as a dye as a sign of wealth.
Personally, I think that either saffron was more prevalent than they
thought or the Irish were dyeing with something that the English only
thought was saffron.  I think the whole "saffron shirt = nobility" thing
was a mistake made by these English writers.
>>>>
Oh, I know, not to mention all the regimental jokes, or people asking if
we 
were the Black Watch. We knew years ago when we wore tartans and kilts
that 
it wasn't historically accurate. However we wanted to distinguish
ourselves 
from the Irish in the mind of the public, and that is what the public 
understands. Nowadays, the major highland regiment/guild I know of dress

just like the kerns in the images, and they look shabby and poor, but
with 
nice shiny weapons. And people often think they are Irish, even other 
re-enactors.
>>>>
And so did their contemporaries.  I can think of a very famous woodcut
from the 1630s of MacKay's Regiment wearing belted plaids and being
labeled "Irish".  They were Highland Scots.
>>>>
Ok, I understand. My background is similar, and I have been dubbed a 
costume Nazi in my lifetime, although I am nowhere near as bad as I
could 
be. I will share info on what I have seen others do, as I don't consider

myself someone who knows everything. I know that as soon as I think
that, 
someone else will show me just where I messed up, and that's cool
because 
then I learn.
>>>>
I certain don’t think I know everything either.  It just happened that
the first email I received from this list was on my subject of
expertise.  And the poor gentleman was about to commit a great faux pas
that I was adamant to save him from:  embroidering a 16th century léine
like it were a 10th century one.  I wanted to protect him from such a
mistake.
>>>>
I can fully agree. It is amazing how much better Living History people
are 
dressing, for all the research that people have done over the years.
Take 
the Shinrone gown for example. I kept hearing stories of how it was 
supposed to look like, and people made dresses based on various ideas,
but 
didn't have any pic or full description of it. I went on a hunt, found a

book in a college library 200 miles away, and photocopied the two pages
in 
the book. I made mine based on a pic of just the front of the gown, and
the 
description. I didn't know what the back looked like. Now, online, there
is 
much more info on what the gown looked like, front and back, and people 
have made replicas on them and shared all that info.
>>>>
When I made my first replica of the Shinrone gown, all I had was a copy
of Dress in Ireland.  But even that didn't give me enough.  So I wrote
to Mairead Dunlevy (I have a friend in Ireland who knows her).  And she
invited me to come and examine the gown first hand.  THAT was an
incredible boon for the hobby!  Before that, I had no idea what the
Irish wore.  Everyone kept telling me that they dressed like lower class
English.  But I knew that there were also complaints that the Irish
continued to dress "in the Irish style".  No one seemed to know what
that meant.  We still don't, for the most part.  But we can make better
guesses now.

As we learn more, we ALL know more, and we get better and better.  I
love to hear stories from a friend who was in on the beginning of US
Civil War reenactment back in the 1960s and how funny it is what they
wore then.  And I've seen pictures of AWI reenactors from 1976 that
would make us laugh out loud today.  It's important to remember that we
are where we are because of the efforts of these people who came before
us.  But it's also important to keep moving towards our goal.
>>>>
And I wanted to say it's been wonderful finding other people like you,
on 
this list, that I can enjoy chatting the details of such a small thing
as 
saffron and Irish clothing, and have it be an enjoyable conversation. I 
just hope I haven't bored the rest of you all.
>>>>
Yeah, me too.  I hope you've all found this informative, or at the very
least amusing.  =)

Kass


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Fri, 19 Sep 2003 07:08:52 -0400
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   Most certainly the ancient celts didn't wear what we commonly refer
to as the leine. I tend to think in modern gaelic terms rather than what
most think of as the garment you described, which I also love.
>>>>
Sure.  It's semantics.  I knew what you meant, Joe.  I'm just pulling
your Gaelic leg, cousin.  ;)
>>>>
   I've seen description of an 11th century chieftain's clothing that
lists his "brilliant white silk shirt" being embroidered about the neck,
which enhanced his appearance. I think they even called the thing a kilt
instead of a shirt, for crying out loud.
>>>>
That's because of O'Curry's translation error.  The word in Old Irish is
the same as the modern Irish "léine".  He's definitely not wearing a
kilt.
>>>>
   I believe you may be right about King James' jacket. There's no
evidence that it was an ionar, so it very well may have been some sort
of jerkin or a doublet. This wardrobe is going to get expensive quickly,
I see. :o)
>>>>
If you want to portray nobility, Joe, you have to pay for it.  This is
one reason I don't portray nobility.  =)
>>>>
   Please understand that I'm a doctor of psychology, not a historian,
and I tend to view things with a sense of social dynamics. This can have
little to do with what actually occurred in times past. So little is
known about the clothing from this time that it invites much
interpretation and educated "guesswork" from those who travel down its
path. I'm drawing from what I've read, what I've been told, and what
I've learned from my education.
>>>>
You're asking good question.  I hope we're giving you helpful answers
and not muddying the water further.
>>>>
   You are very right about me. I like to do things correctly the first
time, even if that means going to the faire in a period green gumby suit
with a polka dot plaid brooched at my right shoulder.
>>>>
<snicker>  What a picture!

When it comes down to portraying a person from a time and place about
which information is scant, there are decisions to be made.  Wear what
we know was worn.  Try not to fill in what we don't know with
assumptions based on other time periods.  If it were me, I would do my
best to replicate James' outfit -- basically wearing a saffron-dyed
shirt with a beribboned English/French velvet doublet and trews.  Or I
would give up the idea of being nobility and wear the léine and ionar.
But in the end, it is your choice.  I hope we’ve made things clearer for
you and saved you from some pitfalls.  =)
>>>>
....and I routinely wear kilt to my clan events. I wouldn't trade for
it. :o)
>>>>
And that's certainly the proper venue for it.  Wear it in good health!

Kass


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Hiya all,

Ive been lurking on this list for a few weeks and this is my first post (Hi
Kass! Great news on the Patterns).
I received in the mail yesterday a copy of Alcega's Tailor's Book of
Patterns. Im very excited but I do not have a clue where to start with this
book. Can anyone give me some pointers on how to dig into this book, how to
read the measurements, adjust to the overlapped pattern pieces?

Thanks, I love this book
Muirgheal
Molann an obair an fear.

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In a message dated 9/19/2003 7:18:00 AM Central Standard Time, 
muirgheal@charter.net writes:
Ive been lurking on this list for a few weeks and this is my first post (Hi
Kass! Great news on the Patterns).
I received in the mail yesterday a copy of Alcega's Tailor's Book of
Patterns. Im very excited but I do not have a clue where to start with this
book. Can anyone give me some pointers on how to dig into this book, how to
read the measurements, adjust to the overlapped pattern pieces?
w00t! Did I hear Alcega? Deciphering Alcega is one of my favorite things to 
do. My website is in turmoil right now, but Marion has a lot of great Alcega 
and conversion charts etc on her site: http://home.att.net/~mmcnealy/index.htm

Just remember, what they say is an "ell" isn't an "ell"...it's a baras or 
Castellian Yard (33 inches). And take in account that each skirt/kirtle etc is 
49.5 inches from waist to hem (yup, just like the farthingale). If you want, I 
can email you a little write up I did on making the Kirtle of Silk for a Fat 
Woman. I love Alcega...he is the shizznit.


-Sarra Wryght
www.sixteenthcenturystitchery.com (Elizabethan Dress Diaries, etc)
Live Journal: http://www.livejournal.com/users/loreleisedai/
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Holy Moley, did AOL butcher the look of this email reply I sent...here, I 
fix! (sorta)


In a message dated 9/19/2003 7:50:05 AM Central Standard Time, 
LoreleiMorte@aol.com writes:
<<In a message dated 9/19/2003 7:18:00 AM Central Standard Time, 
muirgheal@charter.net writes:
Ive been lurking on this list for a few weeks and this is my first post (Hi
Kass! Great news on the Patterns).
I received in the mail yesterday a copy of Alcega's Tailor's Book of
Patterns. Im very excited but I do not have a clue where to start with this
book. Can anyone give me some pointers on how to dig into this book, how to
read the measurements, adjust to the overlapped pattern pieces?>>



w00t! Did I hear Alcega? Deciphering Alcega is one of my favorite things to 
do. My website is in turmoil right now, but Marion has a lot of great Alcega 
and conversion charts etc on her site: 
http://home.att.net/~mmcnealy/index.htm

Just remember, what they say is an "ell" isn't an "ell"...it's a baras or 
Castellian Yard (33 inches). And take in account that each skirt/kirtle etc 
is 
49.5 inches from waist to hem (yup, just like the farthingale). If you want, 
I 
can email you a little write up I did on making the Kirtle of Silk for a Fat 
Woman. I love Alcega...he is the shizznit.


-Sarra Wryght
www.sixteenthcenturystitchery.com (Elizabethan Dress Diaries, etc)
Live Journal: http://www.livejournal.com/users/loreleisedai/
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Could it have been an attempt to make them at least *look* less Irish
(at least by the English standards of the time)? Sort of an ethnocentric
"civilizing"? 
--sue, who's been mucking about with earlier styles of Irish clothing
lately, and it's driving her pleasantly crazy (babble, babble)

Kass McGann wrote:
> 
 
> Henry the VIII outlawed the use of saffron as a dye in Ireland by Act of
> Parliament in 1537.  We presume this is because he thought the Irish
> were dressing above their station.
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Maybe they "washed" those shirts in a solution/dye bath with both yellow
and anti-insect properties? Tansy, for instance, gives a decent yellow
dye, and has the reputation of repelling flies and insects.
Of course, just *washing* things <g> would tend to keep vermin down.
--sue

Kass McGann wrote:
> 

> >>>>
> As to Henry's prohibition of saffron, it wasn't just Ireland where it
> was prohibited. Some have said that it was to make sure that the
> sheets were white so that he could tell if they were actually clean
> or not. ;)
> >>>>
> That's probably one of those "picking on the Irish" things.  According
> to the records we have, the Irish probably bathed more often than the
> English did.  There's also mention that the Irish "washed" their shirts
> in saffron to keep lice away.  But we know today that saffron has
> absolutely no pesticide properties.  It's just propaganda.  Interesting
> though, isn't it?
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] The 16th century leine
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> See, I do have a little
> vested interest in this
> period/persona. :o)   It's my own history.

16th century Scotland is not my period but I can offer
some tidbits from my husbands family that might help.
The Irvine clan lost a lot of possessions after one of
the last rebellions. Some of those items have started
to resurface recently. Some of the paintings purported
to be 15thc and 16thc Lairds appear to be 18thc
creations showing full dress 'kilts'. Some however
appear to be fairly contemporary. In at least one, the
man is wearing a jerkin that appears to be an
adaptation of a French style common in paintings circa
1540. The sleeves are not as exagerated and you can't
really see much of the shirt underneath, but it
appears to have been white. Unfortunately you can't
see below the waist. I think this painting was dated
1603 and was contemporary with a chair that
resurfaced. The chair had the Irvine coat of arms and
the date 1603 carved in it. I have no idea how common
or uncommon this style was.



=====
Aurum peccamenes multifariam texit

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I know we've discussed (in the past) various things that people have and
have not done to achieve a properly fashionable silhouette, but I'd
never heard of *this* until a couple of minutes ago (the radio next to
my computer desk is playing NPR).
NPR has been doing little interview pieces all week about different
aspects of modern fashion.  Today, they were talking about shoes.  They
actually interviewed a (female) podiatrist from NYC who will perform
surgery on feet so that they fitter better into expensive designer
shoes.  Including things like toe-shortening! Ouch!
For a more-complete look at the articles, there are links on the NPR web
page:
http://www.npr.org/
The whole series is quite interesting.
--sue
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Subject: [h-cost] Shoulderroll question
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Hi,

I made a schoulderrol for my 16th century dress but I am not sure if it 
looks right.
http://www.deredere.dds.nl/16thcent_dress/ShoulderrollP.jpg
http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html
It looks a bit to big to me.
Please let me know what you think.
I am going to wear this dress again tomorrow and I don't want to look silly.

Greetings,
        Deredere


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Subject: Re: [h-cost] Shoulderroll question
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Hi there -  Judging from the painting you supply as a base,  the shoulder 
roll looks too vertical,  and too hard in its lines.  As you see in the 
painting the shoulder roll is not vertical,  almost little more than a cap 
over the shoulder,  and its outer appearance is a series of soft 
lines.  Just looking at your photo in the dress - IMO the shoulder roll is 
overpowering.





>I made a schoulderrol for my 16th century dress but I am not sure if it 
>looks right.
>http://www.deredere.dds.nl/16thcent_dress/ShoulderrollP.jpg
>http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html
>It looks a bit to big to me.
>Please let me know what you think.
>I am going to wear this dress again tomorrow and I don't want to look silly.
>
>Greetings,
>        Deredere
>

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Subject: Re: [h-cost] Reconstructing History Patterns
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At 03:07 AM 09/19/2003 -0700, elizabeth hervey wrote:
>
>Where to go to get patterns printed? Are there places in Britain and
Europ? We're thinking of doing our faery costumes, so many people ask for a
pattern.
>

If you're lookng at getting patterns printed on tissue paper, there are
only two companies that do it, as far as I know, and both of them are in
the US.  McCall's patterns and Simplicity Patterns both subcontract their
printing services.  You have to order a minimum of 1000 copies, so this is
not the way to go for something esoteric that not many people will
purchase.  For that, you're better off having them printed on bond paper,
which can be done by most local print shops. 

Let me know if you want contact information for either or both printers. 

Margo

"One Tough Costumer"

www.margospatterns.com
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> I know we've discussed (in the past) various things that people have
> and have not done to achieve a properly fashionable silhouette, but
> I'd never heard of *this* until a couple of minutes ago (the radio
> next to my computer desk is playing NPR). NPR has been doing little
> interview pieces all week about different aspects of modern fashion. 
> Today, they were talking about shoes.  They actually interviewed a
> (female) podiatrist from NYC who will perform surgery on feet so that
> they fitter better into expensive designer shoes.  Including things
> like toe-shortening! Ouch!

This one makes me laugh. However, it's not just the "expensive 
designer shoes" that people want to fit into. If you have one foot 
which has a toe which is 1/2cm larger than the one on the opposite 
side and it makes it difficult to *comfortably* fit any shoe, you 
might go in for a little "toe shortening" too.

Kat
<kat@redtrollforge.com>


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From: "Cyn Bucheger" <cbucheger@paclp.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Shoulderroll question
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In general, I think it looks okay, but as another poster noted, it's not the
same as your inspiration portrait.  If you want it to look more like your
inspiration portrait, I'd take most of the stuffing out of the roll.

If you're okay with looking more like this
http://www.nmm.ac.uk/uploads//jpg/LIZ0289.jpg
then I'd leave it alone.

Cyn


> Hi,
>
> I made a schoulderrol for my 16th century dress but I am not sure if it
> looks right.
> http://www.deredere.dds.nl/16thcent_dress/ShoulderrollP.jpg
> http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html
> It looks a bit to big to me.
> Please let me know what you think.
> I am going to wear this dress again tomorrow and I don't want to look
silly.
>
> Greetings,
>         Deredere
>
>
>


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Subject: Re: [h-cost] OOP: Shades of Cinderella's step sisters....
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*shyly raises hand* Ok, I admit it, I did this.

The ball of my feet were sticking out about a full inch by my big toe. BUT
I also had hammer toes and bunions. I was asked at the time if I wanted my
toes shortened which shocked me cause I had no idea how long they were
until they artificially showed me how long my toes really were and would
be once they fixed them. I said no. I went from a 6.5 to an 8, it was that
much of a difference on the length that the hammer toes were causing. BTW,
this was all hereditary.

The ball of my feet slimming however allows me to wear normal width shoes
now instead of wide width shoes. You have no idea how much money I am
saving!! :)

However, my toes are very fat, it is very strange to look at them and see
them so oversized in comparison to my tiny skinney toes. I mean we are
talking four times the size of the next toe. I would be willing to suck
the fat out of that if there was any but I do not think that is what is
going on there. :)

Great show, listened to it from the archives,
http://www.npr.org/features/feature.php?wfId=1435521

Chiara

>
>> I know we've discussed (in the past) various things that people have
>> and have not done to achieve a properly fashionable silhouette, but
>> I'd never heard of *this* until a couple of minutes ago (the radio
>> next to my computer desk is playing NPR). NPR has been doing little
>> interview pieces all week about different aspects of modern fashion.
>> Today, they were talking about shoes.  They actually interviewed a
>> (female) podiatrist from NYC who will perform surgery on feet so that
>> they fitter better into expensive designer shoes.  Including things
>> like toe-shortening! Ouch!
>
> This one makes me laugh. However, it's not just the "expensive
> designer shoes" that people want to fit into. If you have one foot
> which has a toe which is 1/2cm larger than the one on the opposite  side
> and it makes it difficult to *comfortably* fit any shoe, you  might go
> in for a little "toe shortening" too.
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



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> Hi,
>
> I made a schoulderrol for my 16th century dress but I am not sure if it
> looks right.
> http://www.deredere.dds.nl/16thcent_dress/ShoulderrollP.jpg
> http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html
> It looks a bit to big to me.
> Please let me know what you think.
> I am going to wear this dress again tomorrow and I don't want to look
> silly.
>
> Greetings,
>         Deredere

Deredere,

I agree with the other lady who said that your inspiration portrait has a
different look than the shoulder roll you made.

Could it be that some shoulder rolls weren't padded/stuffed at all?  I
have done some German renaissance styles where I used a base sleeve and
sewed loops onto the top to create a rounded appearance.  If you stuff
chemise material under the loops, they look very similar to your
shoulderroll.  But then I guess that still makes them stuffed, huh?

Diana




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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
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Could it have been an attempt to make them at least *look* less Irish
(at least by the English standards of the time)? Sort of an ethnocentric
"civilizing"? 
>>>>
Oh most definitely.  At least that was the stated intent of Henry's
legislation:  to "civilize" the Irish, i.e. Anglicize them.
>>>>
--sue, who's been mucking about with earlier styles of Irish clothing
lately, and it's driving her pleasantly crazy (babble, babble)
>>>>
Welcome to my world, Sue.  Enjoy!  This kind of insanity has it's own
special charms.  =)

Kass

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] 17.th century lace
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Hi.
A lace buddy sended me this rare auction piece.
This is a terrific piece for those of you who reenackt 17.th century.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=39448&item=2559080855

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Fri, 19 Sep 2003 18:09:00 +0200
From: Deredere Galbraith <triade@kabelfoon.nl>
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MMmmm...
Your right it also looks a lot like the schoulderrolls of this portrait
http://www.members.shaw.ca/holding/elizabethan/orangegirl.jpg

Greetings,
        Deredere


Cyn Bucheger wrote:

>In general, I think it looks okay, but as another poster noted, it's not the
>same as your inspiration portrait.  If you want it to look more like your
>inspiration portrait, I'd take most of the stuffing out of the roll.
>
>If you're okay with looking more like this
>http://www.nmm.ac.uk/uploads//jpg/LIZ0289.jpg
>then I'd leave it alone.
>
>Cyn
>
>
>  
>
>>Hi,
>>
>>I made a schoulderrol for my 16th century dress but I am not sure if it
>>looks right.
>>http://www.deredere.dds.nl/16thcent_dress/ShoulderrollP.jpg
>>http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html
>>It looks a bit to big to me.
>>Please let me know what you think.
>>I am going to wear this dress again tomorrow and I don't want to look
>>    
>>
>silly.
>  
>
>>Greetings,
>>        Deredere
>>
>>
>>
>>    
>>
>
>
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Subject: Re: [h-cost] OOP: Shades of Cinderella's step sisters.... 
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Sue Clemenger <mooncat@in-tch.com> wrote:

>NPR has been doing little interview pieces all week about different
>aspects of modern fashion. Today, they were talking about shoes. They
>actually interviewed a (female) podiatrist from NYC who will perform
>surgery on feet so that they fitter better into expensive designer
>shoes. Including things like toe-shortening! Ouch!

Interesting that you use the English title of the story... The only place I 
recall reading about the step-sisters maiming themselves to fit into the 
slippers was in a translation of the German version (Aschenputtel? my 
spelling's probably way off! and I don't remember if it was as collected by 
the Brothers Grimm or not), and the shoes in question were not glass, but 
something else (silk?)... As I recall, the one step-sister cut off her 
toes; the other, her heel -- and as the prince started off with the 
step-sister as bride, the shoes cried out something like,

         "No! No! There's blood on the shoe!
         The shoe is too small --
         Not the right bride at all!"

And the prince turned back around and questioned the step-mother again. I 
also remember those German versions of fairy tales including some rather 
gruesome (but Period) methods of torture for the stepmothers and 
step-sisters who would have thwarted the prince or king. (I think they were 
the first places I read relatively detailed descriptions of "drawing and 
quartering"...)

Now I'm wondering whether or not Mom decided to donate that particular 
collection of fairy tales to the library (or if it's sitting in cartons in 
the closet)...



Brenda
webwarren@earthlink.net


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>Deredere,
>
>I agree with the other lady who said that your inspiration portrait has a
>different look than the shoulder roll you made.
>
>Could it be that some shoulder rolls weren't padded/stuffed at all?  I
>have done some German renaissance styles where I used a base sleeve and
>sewed loops onto the top to create a rounded appearance.  If you stuff
>chemise material under the loops, they look very similar to your
>shoulderroll.  But then I guess that still makes them stuffed, huh?
>
It does look like it ismaby very lightly padded.
If I would use the linnen fluffy layer and stuf that a little instead of 
putting the felt role in it it would probably look more like the portrait.
My plan is to make them detachable becouse I use this dres also for 
archery and I think they would be in the way of my bowstring.
So I could try to make both styles Don't wan't to take this one appart 
to change it. And don't have time to make the other style before tomorrow.
By the way does anyone knows the date of the portrait I am "recreating"?

Greetings,
        Deredere

>
>Diana
>
>
>
>
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> Interesting that you use the English title of the story... The only place
I
> recall reading about the step-sisters maiming themselves to fit into the
> slippers was in a translation of the German version (Aschenputtel? my
> spelling's probably way off! and I don't remember if it was as collected
by
> the Brothers Grimm or not), and the shoes in question were not glass, but
> something else (silk?)...

I know that the way it's told now in French is VERRE, as in glass. But it
might have come from VAIR, as in fur. I don't know if it the error did come
from a French translation or not.
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Subject: Re: [h-cost] OOP: Shades of Cinderella's step sisters....
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Brenda wrote:
> I also remember those German versions of fairy tales including some 
> rather gruesome (but Period) methods of torture for the stepmothers and 
> step-sisters

I think it's that the English writers are more likely to have 
bowdlerized the tales.  IIRC, the original Snow White wasn't a kiss that 
revived her, it was rape, which jostled the apple chunk out of her mouth.

These things were folk tales, and not really meant for young kids.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

  The Prince looked down at the motionless form of Sleeping Beauty, 
wondering how her supple lips would feel against his own and 
contemplating whether or not an Altoid was strong enough to stand up 
against the kind of morning breath only a hundred year's nap could 
create.  --  Lynne Sella, one of the winners of the Bulwer-Lytton 
Fiction Contest
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From: "Deredere Galbraith" <triade@kabelfoon.nl>
> By the way does anyone knows the date of the portrait I am "recreating"?

If you mean the pinkish dress with all the appliques and the spiral sleeves
with aiglets, then I have it recorded as:
Isabel de Valois, c.1560s by Alonso Sanchez Coello
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Date: Fri, 19 Sep 2003 11:33:07 -0500
Subject: Re: [h-cost] OOP: Shades of Cinderella's step sisters....
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I heard/saw an old movie version of Cinderella years ago which had a
chorus of doves on the dovecot singing out:

Coo-ka-ree-coo, coo-ka-ree-coo!
We see blood on the shoe, we do!

When the bloody effects of the step-sister's mutilation start to show.

Although you'd think that in a glass slipper, that sort of thing would be
pretty obvious.

I too have heard the verre/vair word switch theory. It makes a certain
amount of sense, especially in a time that might spell more phonetically
than we do. But it's still just a theory.


Karen



On Fri, 19 Sep 2003 12:26:41 -0400 Cynthia Virtue
<cvirtue+dated+1079541146.241d96@thibault.org> writes:
> Brenda wrote:
> > I also remember those German versions of fairy tales including 
> some 
> > rather gruesome (but Period) methods of torture for the 
> stepmothers and 
> > step-sisters
> 
> I think it's that the English writers are more likely to have 
> bowdlerized the tales.  IIRC, the original Snow White wasn't a kiss 
> that 
> revived her, it was rape, which jostled the apple chunk out of her 
> mouth.
> 
> These things were folk tales, and not really meant for young kids.
> 
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
> 
>   The Prince looked down at the motionless form of Sleeping Beauty, 
> wondering how her supple lips would feel against his own and 
> contemplating whether or not an Altoid was strong enough to stand up 
> 
> against the kind of morning breath only a hundred year's nap could 
> create.  --  Lynne Sella, one of the winners of the Bulwer-Lytton 
> Fiction Contest
> _______________________________________________
> 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] OOP: Vair/Verre Shades of Cinderella's step sisters....
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This is a useful tidbit in the discussion, although the state of the 
folklore art may have advanced since it was written in 1998.

"But Perrault didn't invent the glass slipper, and it probably didn't 
arise from  vair/verre confusion either. As the French folklorist Paul 
Delarue pointed out in a 1951 essay, "one can also find [glass shoes in 
Cinderella stories] in other countries where there is no homonym which 
permits the confusion." For example, glass shoes appear in an old 
Scottish version of the Cinderella tale as well as in several stories in 
Irish folk literature."

http://www.straightdope.com/classics/a981023.html for the rest of it.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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----- Original Message ----- 
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Friday, September 19, 2003 12:33 PM
Subject: Re: [h-cost] OOP: Shades of Cinderella's step sisters....


> I heard/saw an old movie version of Cinderella years ago which had a
> chorus of doves on the dovecot singing out:
>
> Coo-ka-ree-coo, coo-ka-ree-coo!
> We see blood on the shoe, we do!
>
> When the bloody effects of the step-sister's mutilation start to show.
>
> Although you'd think that in a glass slipper, that sort of thing would be
> pretty obvious.

Yes, that is in the Grimm Brothers' version of the story.  My sister and I
cherished that book, but some of the stories definitely were a little grim!
(pun intended!)

Dianne
>

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At 07:02 AM 9/19/2003 -0600, you wrote:
>--sue, who's been mucking about with earlier styles of Irish clothing
>lately, and it's driving her pleasantly crazy (babble, babble)


Enjoy the Irish clothing. I find them so much more comfortable than the 
English court styles.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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Date: Fri, 19 Sep 2003 11:36:47 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Shoulderroll question
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Hi Deredere,

The other portrait you showed is one I based my first nobles dress, which I 
made several years ago. The shoulder area is only padded lightly with light 
netting under the organza layer, with velvet "loops" a bit longer than the 
under shoulder piece. The pattern was taken from Jean Hunnisett's book, 
Period Costume for Stage and Screen. The shoulder "roll" definitely droops 
off the actual shoulder and is very soft support, not a hard roll. The 
shoulder pieces are made up separately, then tacked onto the shoulder of 
the bodice, which would make it easy to convert to a detachable type. I 
never did any archery while wearing the dress, preferring a different 
garment for similar reasons to your own.

hth,

Kimiko


At 06:16 PM 9/19/2003 +0200, you wrote:
>It does look like it ismaby very lightly padded.
>If I would use the linnen fluffy layer and stuf that a little instead of 
>putting the felt role in it it would probably look more like the portrait.
>My plan is to make them detachable becouse I use this dres also for 
>archery and I think they would be in the way of my bowstring.
>So I could try to make both styles Don't wan't to take this one appart to 
>change it. And don't have time to make the other style before tomorrow.
>By the way does anyone knows the date of the portrait I am "recreating"?
>
>Greetings,
>        Deredere



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] OOP: Shades of Cinderella's step sisters....
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And I thought foot binding by the Orientals were nasty. Ouch!

Kimiko



At 08:08 AM 9/19/2003 -0600, you wrote:
>NPR has been doing little interview pieces all week about different
>aspects of modern fashion.  Today, they were talking about shoes.  They
>actually interviewed a (female) podiatrist from NYC who will perform
>surgery on feet so that they fitter better into expensive designer
>shoes.  Including things like toe-shortening! Ouch!



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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Date: Fri, 19 Sep 2003 11:58:38 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] 17.th century lace
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At 06:00 PM 9/19/2003 +0200, you wrote:
>Hi.
>A lace buddy sended me this rare auction piece.
>This is a terrific piece for those of you who reenackt 17.th century.
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=39448&item=2559080855
>
>Bjarne


I wish I could afford such beautiful lace. Thanks for sharing, at least I 
could drool over the pics.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
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Enjoy the Irish clothing. I find them so much more comfortable than the 
English court styles.
>>>>
Now *there* we completely agree, Kimiko!

Cheers,
Kass

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Subject: Re: [h-cost] The 16th century leine
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Kass McGann <historian@reconstructinghistory.com> wrote
>>>>>
>Oh, I know, not to mention all the regimental jokes, or people asking if
>we
>were the Black Watch. We knew years ago when we wore tartans and kilts
>that
>it wasn't historically accurate. However we wanted to distinguish
>ourselves
>from the Irish in the mind of the public, and that is what the public
>understands. Nowadays, the major highland regiment/guild I know of dress
>
>just like the kerns in the images, and they look shabby and poor, but
>with
>nice shiny weapons. And people often think they are Irish, even other
>re-enactors.
>>>>>
>And so did their contemporaries.  I can think of a very famous woodcut
>from the 1630s of MacKay's Regiment wearing belted plaids and being
>labeled "Irish".  They were Highland Scots.
>>>>>

This is not necessarily an error, but a change in terminology.  "Irish" 
could be used in the sense we might say "Gaels", meaning any of those 
related Celtic groups.  You know, all those wild hairy types who won't 
wear civilised clothing and speak that heathen gabble, you can't be 
expected to tell them apart <g>

Jean
-- 
Jean Waddie
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This is not necessarily an error, but a change in terminology.  "Irish" 
could be used in the sense we might say "Gaels", meaning any of those 
related Celtic groups.  You know, all those wild hairy types who won't 
wear civilised clothing and speak that heathen gabble, you can't be 
expected to tell them apart <g>
>>>>
That's sure true, Jean.  The English (and Germans -- the woodcut to
which I referred was in German) used the terms "Scots" and "Irish"
interchangeably.  This is one of the reasons it both amuses and saddens
me that those two peoples aren't better "friends" today.

Kass

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Group hug, everyone!
   You are a trooper, Kass. I see no reason why I can't explore the well
off end of the spectrum and the middle class sorts (sorry, I just love
that leine). The cost doesn't scare me off.
   My son already has a 16th century leine made from the pattern on
Matthew Newsome's website dedicated to this period. I should perhaps see
some good examples of the and shirts doublets you recommend, (although I
do want to reproduce a period ionar in the future) and  I need to browse
correct fabrics for the right combination. I just need to find a good
selection online.
Slainte,
Joe
---
Joe Robertson, Psy.D.
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OK, this means the summer clothing would perhaps be the knee length
shirt, belted, with nothing below. A jacket and brat completes the
image. This is what I've seen the most of in engravings and paintings.
Don't worry about the wool blends. They won't be on my bod. I prefer the
real deal, just in a lighter weight for our weather here.
   I've yet to discuss the brat's contruction at this point... another
can o' worms? :o)
Joe
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] The 16th century leine
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At 03:55 PM 9/19/2003 -0500, you wrote:
>    I've yet to discuss the brat's contruction at this point... another
>can o' worms? :o)
>Joe


That I will leave to Kass or others, as I am not as up to date on the 
latest historical info, other than what is in my books on them.

I have seen my friends' brats, but not made one up myself. I understand 
they are wool with a fur lining, which is rather warm to my tastes. I have 
seen them done as a simple wool cloak with a fur rug thingy on the 
shoulders. My hubby has one as well, but he based his on the common 
conception at faire, not on anything specifically historical. I think he 
even added fringing on the edges, and lacing to decorate the seams. It also 
has that fur rug thingy on the shoulders, which makes it nice for chilly 
evenings or mornings. But again, it isn't based on anything specifically 
period.

Kass or others, what do you suggest?

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: "Diane Maynard" <Camelothorse@earthlink.net>
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Subject: Re: [h-cost] Shoulderroll question
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Elizabethan is the time period I play in but, I am not the expert others on
this list are.   That said, for me, there are two problems with your
shoulder roll as seen in the photo.   First, I believe it is too far up on
your shoulder.   It needs to be at the outer point of your shoulder (almost
falling off) to extend the width of your upper body.   Next, bring the
height of the shoulder roll down and make it wider.   The object of the
shoulder roll is to show a broader upper body distance between the shoulders
and create a greater " v " shape between the shoulder and waist line.  Ie :
The broader the shoulders, the smaller the waist looks.  Just my two cents,

Diane


----- Original Message -----
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "H-Costume" <h-costume@indra.com>
Sent: Friday, September 19, 2003 9:32 AM
Subject: [h-cost] Shoulderroll question


> Hi,
>
> I made a schoulderrol for my 16th century dress but I am not sure if it
> looks right.
> http://www.deredere.dds.nl/16thcent_dress/ShoulderrollP.jpg
> http://www.deredere.dds.nl/16thcent_dress/16thcent_dress.html
> It looks a bit to big to me.
> Please let me know what you think.
> I am going to wear this dress again tomorrow and I don't want to look
silly.
>
> Greetings,
>         Deredere
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Fri, 19 Sep 2003 17:44:07 -0400
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Group hug, everyone!
>>>>
Thanks Joe!
>>>>
   You are a trooper, Kass. I see no reason why I can't explore the well
off end of the spectrum and the middle class sorts (sorry, I just love
that leine). The cost doesn't scare me off.
>>>>
No reason in the world then!  Go for it.
>>>>
   My son already has a 16th century leine made from the pattern on
Matthew Newsome's website dedicated to this period. I should perhaps see
some good examples of the and shirts doublets you recommend, (although I
do want to reproduce a period ionar in the future) and  I need to browse
correct fabrics for the right combination. I just need to find a good
selection online.
>>>>
I don't know if you frequent the Armour Archive (armourarchive.org), but
they had a discussion on the Research and Authenticity board this week
about online fabric sources.  Some good stuff there.  I advise you to
check it out.

Kass

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Subject: RE: [h-cost] The 16th century leine
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OK, this means the summer clothing would perhaps be the knee length
shirt, belted, with nothing below. A jacket and brat completes the
image. This is what I've seen the most of in engravings and paintings.
>>>>
That's my image of what's proper, Joe.  You've got the picture now.
>>>>
Don't worry about the wool blends. They won't be on my bod. I prefer the
real deal, just in a lighter weight for our weather here.
>>>>
Rockin'!  Ain't nothing like real wool.  =)
>>>>
   I've yet to discuss the brat's contruction at this point... another
can o' worms? :o)
>>>>
<snicker>  It's really quite simple.  The extant brats (or is that
"brait"?) that we have (and there are quite a few in the National Museum
of Ireland and the Ulster Museum in Belfast) are all constructed in the
same way.  They are two to three strips of 22" wide, heavily-fulled wool
lashed together along their selvedges (long non-ravelly edges) with
pieces take off here and sewn on there to make a semicircle.  The grain
of the fabric lies across the shoulders, rather than down the back.  So
if you want to copy an original, cut your heavy coat wool into 22" wide
strips, sew two lengths together at their sides, cut the whole thing
into a semi-circle, and wear.

Or you could just cut a semi-circle out of coat-weight wool.  But that'd
be cheatin'!  <WINK>

Kass

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From h-costume-bounces@indra.com  Fri Sep 19 19:28:34 2003
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From: Cascio Michael <rosenau5@yahoo.com>
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Subject: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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I know we discussed this recently so if someone can
remember....What decades of the 1700s and the 1800s
did the list decide would be good for the Indian-style
reprints at JoAnn's?  I picked some up as a lower
class day dress but don't see a decade given as to
when the print would be appropriate?

Also the recent discussion of Highland clothing has me
wondering when knotwork would be appropriate as a
decorative motif?  Some of the blackwork looks like a
basic cable which seems to show up in blackwork but
also as a skirt decoration on ACW era dresses plus all
the cable motifs on quilts.  Any thoughts?

                                   Cassandra (the
slowly recovering from surgery and needs massive
distractions going stir crazy house bound :P)

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From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: [h-cost] The 16th century leine
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Well, ladies, since it's middle-class and 14th century to boot, you
*betcha* it's more comfortable!
What can I say? Dublin last year swallowed me, hook line and sinker!
(that's a pretty mixed up metaphor, but I think you'll understand me,
anyway!)
I'm not a completely new convert, though, Kass.  My persona has always
been Irish, although bouncing around without settling on a time frame. 
And although I've finally settled on late 14th c. Dublin, I'm just a
costume hound at heart (which is why I love this list--I can get all my
costuming fixes here!)
--sue

Kass McGann wrote:
> 
> Enjoy the Irish clothing. I find them so much more comfortable than the
> English court styles.
> >>>>
> Now *there* we completely agree, Kimiko!
> 
> Cheers,
> Kass
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   Is there any historical reference to the highland brat being made
differently? I am consulting my copy of McLintock's Old Irish and
Highland Dress as we speak to try and answer that one.
   I have read texts that mention a simple tartan or checked rectangle
of wool fastened with a brooch. These texts also stated that the well
off preferred cloaks of varied and diverse colors. I've seen evidence of
solids, but more in reference to Irish cloaks. I don't see why a
highland gentleman wouldn't own more than one brat, perhaps multicolored
and some solid. It is also in these texts that I have read of
decorations or fringe of sorts on the garment. So far, I've received
mixed opinions on the topic of the brat alone.
Joe
---
Joe Robertson, Psy.D.
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OOP: Shades of Cinderella's step sisters....
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Yeah, and Sleeping Beauty (in the original) wasn't awakened with any
nonsense about love's first kiss--she was in labor, because the prince
had snuck in and, well, impregnated her while she was unconscious.
IIRC, "Cinderella" is French in origin.  And I think I've pretty much
always known about the maiming of the stepsisters.  It makes a pretty
powerful metaphor....
--sue, who actually collects adult fairy tales

Cynthia Virtue wrote:
> 
> Brenda wrote:
> > I also remember those German versions of fairy tales including some
> > rather gruesome (but Period) methods of torture for the stepmothers and
> > step-sisters
> 
> I think it's that the English writers are more likely to have
> bowdlerized the tales.  IIRC, the original Snow White wasn't a kiss that
> revived her, it was rape, which jostled the apple chunk out of her mouth.
> 
> These things were folk tales, and not really meant for young kids.
> 
> --
> Cynthia Virtue and/or
> Cynthia du Pré Argent
> 
>   The Prince looked down at the motionless form of Sleeping Beauty,
> wondering how her supple lips would feel against his own and
> contemplating whether or not an Altoid was strong enough to stand up
> against the kind of morning breath only a hundred year's nap could
> create.  --  Lynne Sella, one of the winners of the Bulwer-Lytton
> Fiction Contest
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From: Jennifer Fleury <jenniferfleury@sbcglobal.net>
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I'm glad someone recommended the Jean Hunnisett book, I was going to myself as well.  Here is a picture of a gown I collaborated on which was made from the same portrait (sorry about the lighting in the pic!  better pics coming in October).  We used the Jean Hunnisett pattern "portrait of an unknown girl" and simply didn't do the panes and replaced the inverted scallop edging with rounded tabs to bring it closer to the portrait.  There is no stuffing.  The roll consists of a cotton backing, 2 layers of ballerina net, and the layer of silk.  The net and silk are gathered on both edges and mounted to the cotton.  It is incredibly lightweight and while it holds its shape well, it also is wonderfully "smushable" if needs be!  
 
http://www.guildofstaugustine.org/mary%20pembroke%20lb03.JPG


Jennifer Fleury
Guild Master 2003-2004
The Guild of St. Augustine
www.guildofstaugustine.org
 
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
Date: Sat, 20 Sep 2003 08:03:59 -0400
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Also the recent discussion of Highland clothing has me
wondering when knotwork would be appropriate as a
decorative motif?  Some of the blackwork looks like a
basic cable which seems to show up in blackwork but
also as a skirt decoration on ACW era dresses plus all
the cable motifs on quilts.  Any thoughts?
>>>>
Well, let's not confuse Celtic knotwork with scroll motifs.  By Celtic
knotwork I mean someone took a page out of the Book of Kells or off a
stone cross and embroidered it on your shirt.  We have no evidence that
that was done.  We have no proof that what was used to decorate stone
and manuscript pages was ever used on cloth.  Matter of fact, we don't
even have evidence that knotwork was used as a decorative technique in
the 16th century at all on any kind of medium.

Scrolling embroidery motifs are seen at least in Italy and England in
the 16th century.  But interwoven vines and cables are quite the same
thing as doggies biting their own tails and complex knots like in the
Celtic motifs.

See what I mean?

Hope you recover quickly and aren't house-bound for long.

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Sat, 20 Sep 2003 09:58:26 -0400
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Is there any historical reference to the highland brat being made
differently? I am consulting my copy of McLintock's Old Irish and
Highland Dress as we speak to try and answer that one.
>>>>
There's rather more evidence, Joe, that the Irish and Highland brats
were made in the same manner.  But that being said, it doesn't mean that
they were all made in the same way.  Let me explain:

All the extant cloaks we currently have in Irish museums are made in the
manner I described -- narrow strips of heavily-fulled wool, sewn
together along their edges and cut into a semi-circular shape.

That being said, some textual references to cloaks/brats describes them
as being rectangular (or don't specify shape), variegated or
solid-coloured, fringed or not, etc.  De Heere and Derricke's pictures,
though, appear to show semi-circular cloaks.  There are many textual
references to Irish "shaggy mantles" of which the Mantle of St. Brigid
(housed in the Cathedral at Bruges) may be an extant example.  It has
long, unspun pieces of wool inserted into the weave which would have
been worn on the inside and would have made the garment warm and nearly
waterproof.  This is where people get the mistaken impression that Irish
mantles should be fur lined.  It was never fur.  It was unspun wool
inside them.

Obviously the belted plaid evolved from the brat on the cusp of the 17th
century and this would have had to be a rectangular piece of cloth.  So
it is entirely possible that they were wearing big rectangles in the
16th century.  It's just the ones that have survived haven't been that
shape.  Of course rectangles are easy to cut up and make other things
out of, so it's really not a shock that they haven't survived.  =)

Kass

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This links to an article in today's New York Times which credits 
Leonardo daVinci as the (probable) inventor of high heels.  Did he?  
Were there any high heels in evidence prior to the 16C?  Costume 
scholars?  Fashionistas?  Anyone?  Bueller?

http://www.nytimes.com/2003/09/20/opinion/20SAT4.html?th

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Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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On Sat, 20 Sep 2003, Kass McGann wrote:

> Matter of fact, we don't even have evidence that knotwork was used as
> a decorative technique in the 16th century at all on any kind of
> medium.

Though I did once see some Celtic-type knotwork in, hmm, either tiling or
wall paint on a surface in the background behind a portrait of Henry VIII.
It would take me a while to track down the portrait again and refresh my
memory. Doesn't mean it's actually Celtic; a decorative motif is a
decorative motif and can appear independently in different cultures. And
as Kass notes elsewhere, its presence on a wall has absolutely no bearing
to anything anyone might wear without evidence that they used the motif in
clothing too.

--Robin


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Subject: Re: [h-cost] did Leonardo invent high heels?
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Look at some of the paintings from the Elizabethan period. Those
high-class folks weren't wearing flats!

Arlys

On Sat, 20 Sep 2003 09:07:15 -0500 Allison <allivox@comcast.net> writes:
> This links to an article in today's New York Times which credits 
> Leonardo daVinci as the (probable) inventor of high heels.  Did he?  
> 
> Were there any high heels in evidence prior to the 16C?  Costume 
> scholars?  Fashionistas?  Anyone?  Bueller?
> 
> http://www.nytimes.com/2003/09/20/opinion/20SAT4.html?th
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: "Kass McGann" <historian@reconstructinghistory.com>
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Though I did once see some Celtic-type knotwork in, hmm, either tiling
or
wall paint on a surface in the background behind a portrait of Henry
VIII.
It would take me a while to track down the portrait again and refresh my
memory. Doesn't mean it's actually Celtic; a decorative motif is a
decorative motif and can appear independently in different cultures. And
as Kass notes elsewhere, its presence on a wall has absolutely no
bearing
to anything anyone might wear without evidence that they used the motif
in
clothing too.
>>>>
I think I've seen that painting too, Robin.  If we're referring to the
same one, it looked to me like scrolling vinework and was more Italian
in flavour than Celtic.

Kass

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Good information, Kass.
   Ok I have some information to get going with. I must now find the
proper leine and jacket style. The brat is the least of my worries. I
could go either way with its shape, be it semi or rectangular, but I
would probably decorate it a bit, perhaps a deep fringe. I will more
than likely choose a lighter wool than was necessary in the mountains of
the Scottish highlands, though. :o)  Scarborough Faire runs for two
months here and is darn hot by the time it's over on Labor Day.
   The subtle hint I'm getting is to also focus on fabrics that would
have been pricey in the period and colours that were costly to
reproduce. I assume that the following items might be in this category:
fine linens and wool, tooled leather garments, silk thread construction
and embroidery, ribbon decoration, and a spattering of silver or gold
jewelry (another topic), and a cool looking period belt. Most fellows
back then went about armed, but I'm foregoing the period weaponry until
the garb is there (is my 12 gauge shotgun period?)
   Go to mistythicket.com and look at the shirts she has there for sale.
I'm not saying that I would buy this one, but is the style of shirt for
the mid 1500's that you were eluding to? This one doesn't have the baggy
sleeves that the kern and hunters were wearing. It would just need to be
a knee length or longer version. The link is
http://www.mistythicket.com/mens/shirts/morgan.html. I'm also sending a
jpeg of a well to do guy with an interesting shirt on.
   Ah, I love research.
Joe
---
Joe Robertson, Psy.D.

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	Re: [Italian Renaissance Costuming] did Leonardo invent high heels?
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That like only works if you have a membership to the newspaper. Just send us
the article please.

Chiara
----- Original Message ----- 
From: "Allison" <allivox@comcast.net>
To: <h-costume@indra.com>; <margospatterns@yahoogroups.com>;
<Italian_Rennaissance_Costuming@yahoogroups.com>;
<TheCostumersManifesto@yahoogroups.com>;
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Sent: Saturday, September 20, 2003 9:07 AM
Subject: [Italian Renaissance Costuming] did Leonardo invent high heels?


: This links to an article in today's New York Times which credits
: Leonardo daVinci as the (probable) inventor of high heels.  Did he?
: Were there any high heels in evidence prior to the 16C?  Costume
: scholars?  Fashionistas?  Anyone?  Bueller?
:
: http://www.nytimes.com/2003/09/20/opinion/20SAT4.html?th
:
:
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From h-costume-bounces@indra.com  Sat Sep 20 11:35:15 2003
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Your selections are sounding good, Joe.  I just want to comment on one
thing:
>>>>
Go to mistythicket.com and look at the shirts she has there for sale.
I'm not saying that I would buy this one, but is the style of shirt for
the mid 1500's that you were eluding to? This one doesn't have the baggy
sleeves that the kern and hunters were wearing. It would just need to be
a knee length or longer version.
>>>>
The neckline of this shirt is very weird.  It starts out as the standard
slit neckline that's been around for centuries, but it appears to be
closed with cord wrapped around two shirt buttons.  Very strange.  Looks
Native American to me.  And all that blanket stitching along the edges
is just icky.  If she sells a completely plain one and you buy the linen
version (or make a similar one), yeah.  But I think this would be
better:
http://www.personal.utulsa.edu/~marc-carlson/cloth/rogart.html 
>>>>
I'm also sending a
jpeg of a well to do guy with an interesting shirt on.
>>>
I don't' think your JPEG made it to the list, Joe.  I didn't get it in
any case.

Kass

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From h-costume-bounces@indra.com  Sat Sep 20 11:44:43 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] did Leonardo invent high heels?
Date: Sat, 20 Sep 2003 11:40:20 -0400
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If patens are what they're talking about, they've been around for much
longer than da Vinci.  They began as a way to keep your feet out of the
mud.  They became fashion items in Italy in the 16th century (as
cioppines) when they became extraordinarily high and elaborately made.
But poor people have been wearing high wooden clogs to keep themselves
from sinking in the mud for centuries.  =)

Kass

On Sat, 20 Sep 2003 09:07:15 -0500 Allison <allivox@comcast.net> writes:
> This links to an article in today's New York Times which credits 
> Leonardo daVinci as the (probable) inventor of high heels.  Did he?  
> 
> Were there any high heels in evidence prior to the 16C?  Costume 
> scholars?  Fashionistas?  Anyone?  Bueller?


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I googled for them, and found several sites very easily.
Here are a few:
http://www3.sympatico.ca/gousse-matte/fdl/Patterns.html
http://www.5rivers.org/en-gb/dept_18.html
--sue, who agrees with the "look" looking good, at the least!

Audrey Bergeron-Morin wrote:
> 
 
> You're right. I'd totally forgotten about those. I don't know how accurate
> construction is, but the look is good. She even has an early 13th century
> pattern, a period of clothing that's usually skipped over in pattern lines
> and history books. (They usually jump from bliaut to sideless surcote,
> forgetting the style that comes just in between)
> 
> It's Fleur de Lyse, with an "e", though, in case you're planning on Googling
> it. And the best thing is they're really close to Montreal! I can even buy
> them in French (my native language - it's always easier, even if I'm
> bilingual). And CDN dollars and low shipping for me when I decide to buy
> some :-)
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Ooooh! Nice dress!
--sue, currently resisting all 16th c. temptations <g>

Jennifer Fleury wrote:
> 
> I'm glad someone recommended the Jean Hunnisett book, I was going to myself as well.  Here is a picture of a gown I collaborated on which was made from the same portrait (sorry about the lighting in the pic!  better pics coming in October).  We used the Jean Hunnisett pattern "portrait of an unknown girl" and simply didn't do the panes and replaced the inverted scallop edging with rounded tabs to bring it closer to the portrait.  There is no stuffing.  The roll consists of a cotton backing, 2 layers of ballerina net, and the layer of silk.  The net and silk are gathered on both edges and mounted to the cotton.  It is incredibly lightweight and while it holds its shape well, it also is wonderfully "smushable" if needs be!
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From: Joe Robertson <joedr@charter.net>
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Kass,
   I agree. The embroidery about the neck is odd, and the button seems
out of period a bit. I had a feeling you were referring to this style of
shirt, which somewhat resembles the Rogart shirt. I would do a standard
open keyhole neck with no button, and the length would be past the knee
to allow for a bit of blousing and ease of movement.
   ...and what do ya know, you sent me a link right to the Rogart shirt.
I might be able to find someone too pull it off out of fine saffron
linen if I try. Also, how do you feel about it being sewn together with
contrasting silk thread, perhaps red or green? There is historical
evidence of that, including in King James' own shirts.
Cheers,
Joe
---
Joe Robertson, Psy.D.
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Sat, 20 Sep 2003 12:21:36 -0400
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   I agree. The embroidery about the neck is odd, and the button seems
out of period a bit. I had a feeling you were referring to this style of
shirt, which somewhat resembles the Rogart shirt. I would do a standard
open keyhole neck with no button, and the length would be past the knee
to allow for a bit of blousing and ease of movement.
>>>>
That works.  Although to portray a kern/gallowglass, I would wear a
léine with dangling sleeves.
>>>>
   ...and what do ya know, you sent me a link right to the Rogart shirt.
I might be able to find someone too pull it off out of fine saffron
linen if I try. Also, how do you feel about it being sewn together with
contrasting silk thread, perhaps red or green? There is historical
evidence of that, including in King James' own shirts.
>>>>
I think that would be perfect, Joe.

The JPEG you sent appears to be a 19th century representation of what a
Highland chief would have worn.  I wouldn't trust this picture. 

But I think you have a good mental picture of what you want now.  

Wear it in Good Health,
Kass


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] did Leonardo invent high heels?
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On Saturday 20 September 2003 10:07 am, Allison wrote:
> This links to an article in today's New York Times which credits
> Leonardo daVinci as the (probable) inventor of high heels.  Did he?
> Were there any high heels in evidence prior to the 16C?  Costume
> scholars?  Fashionistas?  Anyone?  Bueller?
>
> http://www.nytimes.com/2003/09/20/opinion/20SAT4.html?th

I note that the piece came from the Times' Op Ed page, which means it need 
have no more support than that it's something the editorialist thought he 
read somewhere.

I can't recall seeing high heels in Western Europe before the 16thc.  Even if 
I'm correct, and the 16th c was the first time high heels were worn in 
Europe, that doesn't mean Leonardo invented them.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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On Saturday 20 September 2003 10:54 am, Kass McGann wrote:
> Though I did once see some Celtic-type knotwork in, hmm, either tiling
> or
> wall paint on a surface in the background behind a portrait of Henry
> VIII.
> It would take me a while to track down the portrait again and refresh my
> memory. Doesn't mean it's actually Celtic; a decorative motif is a
> decorative motif and can appear independently in different cultures. And
> as Kass notes elsewhere, its presence on a wall has absolutely no
> bearing
> to anything anyone might wear without evidence that they used the motif
> in
> clothing too.
>
> I think I've seen that painting too, Robin.  If we're referring to the
> same one, it looked to me like scrolling vinework and was more Italian
> in flavour than Celtic.

If anyone can track down a URL to a picture of the portrait you and Robin are 
talking about, Kass, I for one would really appreciate seeing it.  Because to 
me at least, "scrolling vinework" and "Celtic-type knotwork" look very 
different, and I'm not convinced that you and Robin are talking about the 
same piece.

However, for what it's worth there are certainly motifs that show up in vastly 
different cultures and places (on textiles and elsewhere).  Swastikas and the 
eight-pointed star often see on Ukrainian eggs and embroidery leap to mind.  
For example, I believe there is a surviving piece of textile from Hallstatt 
with the swastika embroidered on it, and the motif also shows up on Chinese 
lotus shoes.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Subject: Re: [h-cost] did Leonardo invent high heels?
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On Saturday 20 September 2003 11:40 am, Kass McGann wrote:
> If patens are what they're talking about, they've been around for much
> longer than da Vinci.  They began as a way to keep your feet out of the
> mud.  They became fashion items in Italy in the 16th century (as
> cioppines) when they became extraordinarily high and elaborately made.
> But poor people have been wearing high wooden clogs to keep themselves
> from sinking in the mud for centuries.  =)

True, but given the source of the comments (an Op-Ed column, for God's sake), 
I suspect heels that are part of the shoe were intended.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
Date: Sat, 20 Sep 2003 12:45:50 -0400
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If anyone can track down a URL to a picture of the portrait you and
Robin are talking about, Kass, I for one would really appreciate seeing
it.  Because to  me at least, "scrolling vinework" and "Celtic-type
knotwork" look very  different, and I'm not convinced that you and Robin
are talking about the same piece.
>>>>
Could be.  Robin?  Do you have a copy of this picture somewhere?
>>>>
However, for what it's worth there are certainly motifs that show up in
vastly different cultures and places (on textiles and elsewhere).
Swastikas and the eight-pointed star often see on Ukrainian eggs and
embroidery leap to mind. For example, I believe there is a surviving
piece of textile from Hallstatt with the swastika embroidered on it, and
the motif also shows up on Chinese lotus shoes.  
>>>>
Same thing with crosses and six-pointed stars and even woven plaids.
Simple motifs are everywhere.

But I don't particularly classify Celtic knotwork as simple.  I think
its complexity rather defines it.  Anyone who's drawn it will know what
I'm talking about.

In any case, I get your point.

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] did Leonardo invent high heels?
Date: Sat, 20 Sep 2003 13:00:06 -0400
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True, but given the source of the comments (an Op-Ed column, for God's
sake), 
I suspect heels that are part of the shoe were intended.
>>>>
I couldn't see the article.  Did they show any pictures of what
Leonardo's supposed invention?

Kass

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] OOP: Shades of Cinderella's step sisters....
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Sue Clemenger wrote:

To: <h-costume@indra.com>
Sent: Friday, September 19, 2003 7:08 AM
Subject: [h-cost] OOP: Shades of Cinderella's step sisters....



> NPR has been doing little interview pieces all week about different
> aspects of modern fashion.  Today, they were talking about shoes.  They
> actually interviewed a (female) podiatrist from NYC who will perform
> surgery on feet so that they fitter better into expensive designer
> shoes.  Including things like toe-shortening! Ouch!


They'd have to cut my entire little toe and the bone that attaches it for me
to have catwalk feet, far too wide as they are, but perfect if I only had
four toes!  The Wall Street Journal also had a similar article a couple of
weeks ago and they mentioned collagen injections for the balls of the feet
to get you some extra padding for stilettos.  Don't know why someone
wouldn't just use a sticky foot pad, it wouldn't even show!

Lisa Sinervo



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Lisa Sinervo wrote:
> collagen injections for the balls of the feet
> to get you some extra padding for stilettos.  Don't know why someone
> wouldn't just use a sticky foot pad, it wouldn't even show!

Or wear shoes that don't require body modification!  I think it's quite 
amusing that the modern world in general* sees corsets as a torture 
implement of bygone days that we've "grown beyond" as a culture, but 
thinks skinny, pointy, high shoes are beautiful.

cv
*not this list of course!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

  The Prince looked down at the motionless form of Sleeping Beauty, 
wondering how her supple lips would feel against his own and 
contemplating whether or not an Altoid was strong enough to stand up 
against the kind of morning breath only a hundred year's nap could 
create.  --  Lynne Sella, one of the winners of the Bulwer-Lytton 
Fiction Contest
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] The 16th century leine
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Kass wrote:

> I don't know if you frequent the Armour Archive (armourarchive.org),
but
> they had a discussion on the Research and Authenticity board this
week
> about online fabric sources.  Some good stuff there.  I advise you
to
> check it out.


You are a wicked, wicked woman. The way you lure poor, innocent
readers into spending 5 hours having a quick look round when they only
went there to check out the online fabric sources...
And I haven't even found those yet...


best wishes
Stevie

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Subject: [h-cost] Celtic knotwork
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Don't remember who, but someone said the Celtic knotwork in the Henry 8 
portrait was probably a conscious thing connected with henry's welsh 
ancestry.  I've never seen "Celtic Knotwork" on pre-Henry  celtic/gaelic 
garb before, but some Norse stuff had similar work. often 
animal-interlace. (Those cute little eely things in the book of kells 
are a great -*legitimate*- excuse for the really intense knotwork - just 
stick a little head on one end, taper off the other one for a tail and 
away you go!:-P )

There is also the Spanish-Moorish textiles where the interlace motif is 
allovertheplace.  The Book of Kells-type stuff is thought to have 
arrived through traveling early-xtian monks who had access to Coptic 
manuscripts in Egypt, where the moorish and african influence on design 
was strong.

If you're looking for interlace designs on clothes, try a Nordic 
influence, or someone who has travelled to Spain. (Spain would also open 
up allover designs for you to use.) 

There is, or was, a publication by someone in SCA (actually several of 
them!) that showed some embroidery from Welsh garb; you could check out 
the Complete Anachronist series on http://www.sca.org , and other SCA 
publications and probly find some more.
FWIW....

Heather L
(s.k.a. Edwinna, another Celtic-knotwork doodler looking for an exccuse:-)

Kass McGann wrote:

>If anyone can track down a URL to a picture of the portrait you and
>Robin are talking about, Kass, I for one would really appreciate seeing
>it.  Because to  me at least, "scrolling vinework" and "Celtic-type
>knotwork" look very  different, and I'm not convinced that you and Robin
>are talking about the same piece.
>  
>
>Could be.  Robin?  Do you have a copy of this picture somewhere?
>  
>
>However, for what it's worth there are certainly motifs that show up in
>vastly different cultures and places (on textiles and elsewhere).
>Swastikas and the eight-pointed star often see on Ukrainian eggs and
>embroidery leap to mind. For example, I believe there is a surviving
>piece of textile from Hallstatt with the swastika embroidered on it, and
>the motif also shows up on Chinese lotus shoes.  
>  
>
>Same thing with crosses and six-pointed stars and even woven plaids.
>Simple motifs are everywhere.
>
>But I don't particularly classify Celtic knotwork as simple.  I think
>its complexity rather defines it.  Anyone who's drawn it will know what
>I'm talking about.
>
>In any case, I get your point.
>
>Kass
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>
>
>  
>

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] The 16th century leine
Date: Sat, 20 Sep 2003 16:02:38 -0400
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Stevie wrote:
You are a wicked, wicked woman. The way you lure poor, innocent
readers into spending 5 hours having a quick look round when they only
went there to check out the online fabric sources...
And I haven't even found those yet...
>>>>
I live but to serve...  ;)

Enjoy!

Kass

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From: kat@grendal.rain.com
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Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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> But I don't particularly classify Celtic knotwork as simple.  I think
> its complexity rather defines it.  Anyone who's drawn it will know
> what I'm talking about.

What's interesting is that there was a redoing of "Celtic knotwork" 
in the 16th century. There are some clear differences in it when it 
comes to the actual execution (which are quite clear if you've seen 
both. The way most modern people want to do "Celtic knotwork" tends 
to be more the 16th century way of coloring it especially.)

You can see it in the blackwork and embroidery of the time.

http://www.artchive.com/artchive/H/holbein/holbein_henry_viii.jpg.html
http://www.abcgallery.com/H/holbein/holbein59.html

You can also see it in the manuscripts of the time (although I 
couldn't find any pics of these on the web) such as the Hours of 
Alfonso of Aragon, Duke of Calabria (c.1480) (which can be found in 
_The Book of Hours_ by John Harthan.)

If I had more time I probably could find more examples. They aren't 
exactly the same as the original "Celtic knotwork" but they were 
doing the "look at old things and try to imitate them" that we also 
tend to do. (Level of success in imitation depending on how much you 
are trying to do a reproduction as opposed to "inspiration".)

Kat
<kat@redtrollforge.com>


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Celtic knotwork
Date: Sat, 20 Sep 2003 16:26:21 -0400
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On Saturday 20 September 2003 03:43 pm, H. Law wrote:
> Don't remember who, but someone said the Celtic knotwork in the Henry 8
> portrait was probably a conscious thing connected with henry's welsh
> ancestry.  I've never seen "Celtic Knotwork" on pre-Henry  celtic/gaelic
> garb before, but some Norse stuff had similar work. often
> animal-interlace. 

That's true, though the Norse stuff I've seen is pretty simplistic by 
comparison.  I'm thinking in particular of the Mammen cloak.  There's a 
picture of the find, and of a reproduction of it, on the Viking Answer Lady's 
site:

http://www.vikinganswerlady.com/

[Click on the menu at the left side for "Daily Life" and, when you reach that 
page, the link for "Viking Clothing Ornamentation".]

[snip]

> Kass McGann wrote:

Actually, I (Cathy Raymond)  wrote the following in response to some of Kass's 
comments:

> >If anyone can track down a URL to a picture of the portrait you and
> >Robin are talking about, Kass, I for one would really appreciate seeing
> >it.  Because to  me at least, "scrolling vinework" and "Celtic-type
> >knotwork" look very  different, and I'm not convinced that you and Robin
> >are talking about the same piece.

[snip]

This one's also my comment--

> >However, for what it's worth there are certainly motifs that show up in
> >vastly different cultures and places (on textiles and elsewhere).
> >Swastikas and the eight-pointed star often see on Ukrainian eggs and
> >embroidery leap to mind. For example, I believe there is a surviving
> >piece of textile from Hallstatt with the swastika embroidered on it, and
> >the motif also shows up on Chinese lotus shoes.

[snip]

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
Date: Sat, 20 Sep 2003 16:32:22 -0400
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If I had more time I probably could find more examples. They aren't 
exactly the same as the original "Celtic knotwork" but they were 
doing the "look at old things and try to imitate them" that we also 
tend to do. (Level of success in imitation depending on how much you 
are trying to do a reproduction as opposed to "inspiration".)
>>>>
I'm more inclined to see this as an imitation of Italian decorative
scrollwork than Celtic knotwork.  There is nothing Celtic or knotty
about the portraits you've shown.  I see a bunch of interlaced vines.
Not knotwork.

I'm talking about the Celtic knotwork that appears in manuscript
illuminations and stone carvings.  There is no evidence of that motif in
embroidery of any era that I have ever seen.

Kass

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Date: Sat, 20 Sep 2003 15:55:06 -0500
From: "H. Law" <lynnx@grics.net>
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Subject: [h-cost] OT Who said who said...(was Celtic knotwork
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Sorry about that, I think my computer mixed up the quotes - I just hit 
Reply and started rambling.  No offense was intended :-)

Edwinna

Catherine Olanich Raymond wrote:

>On Saturday 20 September 2003 03:43 pm, H. Law wrote:
>  
>
>>Don't remember who, but someone said the Celtic knotwork in the Henry 8
>>portrait was probably a conscious thing connected with henry's welsh
>>ancestry.  I've never seen "Celtic Knotwork" on pre-Henry  celtic/gaelic
>>garb before, but some Norse stuff had similar work. often
>>animal-interlace. 
>>    
>>
>
>That's true, though the Norse stuff I've seen is pretty simplistic by 
>comparison.  I'm thinking in particular of the Mammen cloak.  There's a 
>picture of the find, and of a reproduction of it, on the Viking Answer Lady's 
>site:
>
>http://www.vikinganswerlady.com/
>
>[Click on the menu at the left side for "Daily Life" and, when you reach that 
>page, the link for "Viking Clothing Ornamentation".]
>
>[snip]
>
>  
>
>>Kass McGann wrote:
>>    
>>
>
>Actually, I (Cathy Raymond)  wrote the following in response to some of Kass's 
>comments:
>
>  
>
>>>If anyone can track down a URL to a picture of the portrait you and
>>>Robin are talking about, Kass, I for one would really appreciate seeing
>>>it.  Because to  me at least, "scrolling vinework" and "Celtic-type
>>>knotwork" look very  different, and I'm not convinced that you and Robin
>>>are talking about the same piece.
>>>      
>>>
>
>[snip]
>
>This one's also my comment--
>
>  
>
>>>However, for what it's worth there are certainly motifs that show up in
>>>vastly different cultures and places (on textiles and elsewhere).
>>>Swastikas and the eight-pointed star often see on Ukrainian eggs and
>>>embroidery leap to mind. For example, I believe there is a surviving
>>>piece of textile from Hallstatt with the swastika embroidered on it, and
>>>the motif also shows up on Chinese lotus shoes.
>>>      
>>>
>
>[snip]
>
>  
>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT Who said who said...(was Celtic knotwork
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On Saturday 20 September 2003 04:55 pm, H. Law wrote:
> Sorry about that, I think my computer mixed up the quotes - I just hit
> Reply and started rambling.  No offense was intended :-)
>
> Edwinna
>

I wasn't offended at all; I just wanted to make sure nobody else got confused 
as the thread wore on.



-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Agnes Gawne <gawne@mac.com>
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Subject: [h-cost] da Vinci shoe article - NYTimes
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Here's the text of the article for those who couldn't read it on the NYTimes
site. 


September 20, 2003
N Y Times
Editorial/OP ED

When Pretty Shoes Turn Cruel

here has been a lot of weather going on in New York this year, most of it
wet. Not to mention the big blackout. What all these things had in common
was the fact that it was almost impossible to deal with them in high-heeled
shoes.

The fault, it seems, lies with Leonardo da Vinci. Though the evidence is not
conclusive, some historians believe that Leonardo, the original Renaissance
man, may have invented that most exquisite and ubiquitous of torture
devices, the high heel.

The height-enhancing shoes were an immediate winner with European royalty,
both men and women. Centuries later, it's everyday women who are footing the
bill. When the blackout occurred, shoe stores closed along with most other
businesses, and women without flat, accommodating shoes faced a painful
choice: risk blisters and other ailments while looking fabulous in Jimmy
Choos, Manolo Blahniks or less-heralded push-up shoes, or pound the pavement
in bare or stocking feet.

You cannot walk miles on squeezed and compacted tiptoes. Neither can you
leap across a very large puddle in the more glamorous versions of the high
heel, and we have spent a great deal of time with puddles this year. There
have actually, when you think of it, been a relatively small number of days
that didn't cry out for second-best sneakers, or maybe designer galoshes.
Having a pair of sensible shoes is like eating spinach, a commendable idea.
But how often does a bowl of greens win out over a bowl of ice cream? High
heels are an indulgence, one best enjoyed while sitting down, preferably in
nonemergency situations.

The Department of Homeland Security advises that "sturdy shoes" be included
in the survival kits we have all been urged to assemble, but that may leave
too much to the wearer's discretion. The shoes that will carry a person
comfortably through any situation not involving a salad fork are bound to be
pedestrian, in every sense of the word.

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From h-costume-bounces@indra.com  Sat Sep 20 18:38:23 2003
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Date: Sat, 20 Sep 2003 17:35:05 -0500
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From: Allison <allivox@comcast.net>
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Subject: [h-cost] NY Times high heels op ed
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On Saturday, September 20, 2003, at 11:33  AM, 
h-costume-request@indra.com wrote:

> On Saturday 20 September 2003 10:07 am, Allison wrote:
>> This links to an article in today's New York Times which credits
>> Leonardo daVinci as the (probable) inventor of high heels.  Did he?
>> Were there any high heels in evidence prior to the 16C?  Costume
>> scholars?  Fashionistas?  Anyone?  Bueller?
>>
>> http://www.nytimes.com/2003/09/20/opinion/20SAT4.html?th
>
> I note that the piece came from the Times' Op Ed page, which means it 
> need
> have no more support than that it's something the editorialist thought 
> he
> read somewhere.
>
> I can't recall seeing high heels in Western Europe before the 16thc.  
> Even if
> I'm correct, and the 16th c was the first time high heels were worn in
> Europe, that doesn't mean Leonardo invented them.
>
> Cathy Raymond <cathy@thyrsus.com>
>

Here's the NY Times article, dated September 20, 2003.  I don't 
subscribe, but am on their "email me the headlines for free" list.  
There is no name on the article, which tells me it's an editorial staff 
op-ed, not a "guest" opinion.

I wonder if their "research" included pictures, and whether they mean 
pattens or actual heels. Big difference in pattens/platform shoes/clogs 
and stiletto heels!  I'd bet big money this writer has no idea, they 
just looked at the first reference they could find to get a historical 
angle on a subject that seems to be hot these days.

Allison

> When Pretty Shoes Turn Cruel
>
> There has been a lot of weather going on in New York this year, most 
> of it wet. Not to mention the big blackout. What all these things had 
> in common was the fact that it was almost impossible to deal with them 
> in high-heeled shoes.
>
> The fault, it seems, lies with Leonardo da Vinci. Though the evidence 
> is not conclusive, some historians believe that Leonardo, the original 
> Renaissance man, may have invented that most exquisite and ubiquitous 
> of torture devices, the high heel.
>
> The height-enhancing shoes were an immediate winner with European 
> royalty, both men and women. Centuries later, it's everyday women who 
> are footing the bill. When the blackout occurred, shoe stores closed 
> along with most other businesses, and women without flat, 
> accommodating shoes faced a painful choice: risk blisters and other 
> ailments while looking fabulous in Jimmy Choos, Manolo Blahniks or 
> less-heralded push-up shoes, or pound the pavement in bare or stocking 
> feet.
>
> You cannot walk miles on squeezed and compacted tiptoes. Neither can 
> you leap across a very large puddle in the more glamorous versions of 
> the high heel, and we have spent a great deal of time with puddles 
> this year. There have actually, when you think of it, been a 
> relatively small number of days that didn't cry out for second-best 
> sneakers, or maybe designer galoshes. Having a pair of sensible shoes 
> is like eating spinach, a commendable idea. But how often does a bowl 
> of greens win out over a bowl of ice cream? High heels are an 
> indulgence, one best enjoyed while sitting down, preferably in 
> nonemergency situations.
>
> The Department of Homeland Security advises that "sturdy shoes" be 
> included in the survival kits we have all been urged to assemble, but 
> that may leave too much to the wearer's discretion. The shoes that 
> will carry a person comfortably through any situation not involving a 
> salad fork are bound to be pedestrian, in every sense of the word.
>
>

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From h-costume-bounces@indra.com  Sat Sep 20 19:05:20 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] NY Times high heels op ed
Date: Sat, 20 Sep 2003 18:49:55 -0400
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I wonder if their "research" included pictures, and whether they mean 
pattens or actual heels. Big difference in pattens/platform shoes/clogs 
and stiletto heels!  I'd bet big money this writer has no idea, they 
just looked at the first reference they could find to get a historical 
angle on a subject that seems to be hot these days.
>>>>
Yeah.  From the author's description that these shoes were
"height-enhancing", I seeing the cioppines worn by Venetian courtesans
in my head.  But I'm willing to bet that we're talking about good o'l
keep-you-hems-out-of-the-mud pattens here...

Funny thing, isn't it, writing an op-ed letter like it's a real article.

Kass

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From h-costume-bounces@indra.com  Sat Sep 20 19:09:51 2003
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Thanks, Agnes.
--sue

Agnes Gawne wrote:
> 
> Here's the text of the article for those who couldn't read it on the NYTimes
> site.
><snipped>
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From h-costume-bounces@indra.com  Sat Sep 20 21:41:38 2003
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I'm wondering if this writer even knew about pattens, clogs etc.  Anyone 
know when the
high heels with the *toe on the ground* came in?  I'd bet dinner (*), 
but if they think
da Vinci invented *those* I'd like to see some doc.

 I wonder about writing an op-ed letter of our own, asking if the writer 
of this thing has doc, We'd Be Very Interested To Know

Edwinna, not waiting up for this one

(*) but you'd have to come out here to collect it ;->

Agnes Gawne wrote:

>Here's the text of the article for those who couldn't read it on the NYTimes
>site. 
>
>
>September 20, 2003
>N Y Times
>Editorial/OP ED
>
>When Pretty Shoes Turn Cruel
>
>here has been a lot of weather going on in New York this year, most of it
>wet. Not to mention the big blackout. What all these things had in common
>was the fact that it was almost impossible to deal with them in high-heeled
>shoes.
>
>The fault, it seems, lies with Leonardo da Vinci. Though the evidence is not
>conclusive, some historians believe that Leonardo, the original Renaissance
>man, may have invented that most exquisite and ubiquitous of torture
>devices, the high heel.
>
>The height-enhancing shoes were an immediate winner with European royalty,
>both men and women. Centuries later, it's everyday women who are footing the
>bill. When the blackout occurred, shoe stores closed along with most other
>businesses, and women without flat, accommodating shoes faced a painful
>choice: risk blisters and other ailments while looking fabulous in Jimmy
>Choos, Manolo Blahniks or less-heralded push-up shoes, or pound the pavement
>in bare or stocking feet.
>
>You cannot walk miles on squeezed and compacted tiptoes. Neither can you
>leap across a very large puddle in the more glamorous versions of the high
>heel, and we have spent a great deal of time with puddles this year. There
>have actually, when you think of it, been a relatively small number of days
>that didn't cry out for second-best sneakers, or maybe designer galoshes.
>Having a pair of sensible shoes is like eating spinach, a commendable idea.
>But how often does a bowl of greens win out over a bowl of ice cream? High
>heels are an indulgence, one best enjoyed while sitting down, preferably in
>nonemergency situations.
>
>The Department of Homeland Security advises that "sturdy shoes" be included
>in the survival kits we have all been urged to assemble, but that may leave
>too much to the wearer's discretion. The shoes that will carry a person
>comfortably through any situation not involving a salad fork are bound to be
>pedestrian, in every sense of the word.
>
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>  
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From h-costume-bounces@indra.com  Sat Sep 20 23:49:14 2003
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> I wonder about writing an op-ed letter of our own, asking if the writer
> of this thing has doc, We'd Be Very Interested To Know
Do it, Edwinna!  If you'll write it, I'll be among those who sign it.  
As one of those who are "Interested To Know" I prefer FACTS in my 
newspaper "articles" - I can find plenty of pop culture trivia and/or 
speculation in magazines.
Allison P.

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From h-costume-bounces@indra.com  Sun Sep 21 00:13:56 2003
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Subject: [h-cost] Knotwork
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Just got back to the computer so
I did mean knotwork as in twining patterns.  I'm used
to seeing it as a skirt decoration on ACW dress and
sleeve decoration so I hadn't really considered the
zoomorphic and anamorphic styles of decoration.  The
quilting patterns are also just repeated cable
sections with the occasional fiddly-bit at the corner
but no dogs heads, etc.  Is there someplace that has
period embroidery patterns besides blackwork?  I
cannot, really cannot draw at all, and I can't look at
a book of emblems and figure out what stitches to use
or even how dense of a stitch to use for white on
white texture.
I do seem to remember seeing twining patterns in the
backgrounds of some of the portraits but I'm not sure
I would use furnishing patterns as good documentation
for garment decoration.  Modern inspiration is fair
game but I was hoping to do some chain stitch knotwork
and was looking to see what time and place I needed to
be for it to be period.  Thanks again and fascinating
discussion.
                                 Cassandra

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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Me:

> > Though I did once see some Celtic-type knotwork in, hmm, either tiling
> > or
> > wall paint on a surface in the background behind a portrait of Henry
> > VIII.

Kass:

> > I think I've seen that painting too, Robin.  If we're referring to the
> > same one, it looked to me like scrolling vinework and was more Italian
> > in flavour than Celtic.

Catherine:

> If anyone can track down a URL to a picture of the portrait you and
> Robin are talking about, Kass, I for one would really appreciate
> seeing it.  Because to me at least, "scrolling vinework" and
> "Celtic-type knotwork" look very different, and I'm not convinced that
> you and Robin are talking about the same piece.

I've been out all day and will be out all day tomorrow, so I can't try
digging up the image now, but I wouldn't describe what I remember as
"scrolling" -- clearly interlaced, and I think it had corners to it, but I
can't swear. I do remember thinking it very odd to see something that was
clearly identical to what's normally taught as Celtic knotwork in that
portrait, and wondering if it had political significance (as others have
noted). No animal heads on it, though. But I would not consider interlaced
lines to be "vinework" unless they had foliate details as well.

I'll get to this when I can, but right now life is a higher priority...

--Robin


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On Sat, 20 Sep 2003, Robin Netherton wrote:

> I've been out all day and will be out all day tomorrow, so I can't try
> digging up the image now...

OK, I lied. I did take a few minutes just for a quick websearch. Try this:

http://tudorhistory.org/henry8/henryred2.jpg

Look at the curtain behind Henry. Knots, inside of something that could be
called scrolling vines given their shape. Hmm, maybe we're both right.

But that isn't the image I was thinking of -- the one I remember was
straight and narrow, like a moulding along the edge of a panel. I may have
the wrong king or something :-(

In this one, he also has interlaced something-or-other on his oversleeve
trim:

http://tudorhistory.org/henry8/henry.jpg

Still not the one I'm visualizing.  Just another that looked useful for
"knotwork motif" discussion. Clearly there was plenty of interlacing in
the decorative vocabulary of the time. Doesn't mean it's Celtic. And it
doesn't mean it was used in clothing, either, though the sleeve trim does
suggest that it was fair game.

--Robin


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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On Sunday 21 September 2003 12:48 am, Robin Netherton wrote:
[snip]

> I've been out all day and will be out all day tomorrow, so I can't try
> digging up the image now, but I wouldn't describe what I remember as
> "scrolling" -- clearly interlaced, and I think it had corners to it, but I
> can't swear. I do remember thinking it very odd to see something that was
> clearly identical to what's normally taught as Celtic knotwork in that
> portrait, and wondering if it had political significance (as others have
> noted). No animal heads on it, though. But I would not consider interlaced
> lines to be "vinework" unless they had foliate details as well.
>
> I'll get to this when I can, but right now life is a higher priority...

Understood.  

I wasn't even suggesting it should be you who should hunt the portrait up.  
(If somebody else found a suitable URL, they could always post it, and you 
could say later, "Yep, that's the one, all right" or "No, that's not it."    
I merely hope to have a chance to see the image for myself at some point. 



-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Well, depending on how one does or doesn't define knotwork...<weg>,
there are several extant examples of bands of embroidery (Egyptian) that
look like simple knotwork or strapwork (i.e., linear elements in a
repeated, intertwined/knotted pattern), done with, I think, split
stitch.  They're in my book on Islamic textiles and samplers.  Very
pretty, done in silk threads that were not spun, but thrown, and still
shiny after all these centuries.  I do not recall, unfortunately, seeing
anything in the book as to what the authors supposed the strips were
used on (e.g., clothing, or furnishings, or livestock equipment).
And, of course, there are all the interlaced designs done in embroidery
and goldwork that show up in 16th century clothing (not exactly knotwork
in Kass' sense, I think, but certainly a cousin).  More in the earlier
part of the century than the later--at least, I associate it more with
Tudor stuff than Elizabethan.
There are a number of embroidery pattern books reprinted from period
copies, that show lots of different strapwork patterns.  Some of them
are definitely vine-like.  In my German book (it's packed somewhere, and
I don't remember the exact title), there are just *pages* of samples
done with different flowers and plants--some are quite recognizable as
thistles, or roses, or columbines.
So, there's my two late-night pence worth, to muddy up the topic some!
<g>
--sue, off to bed to dream of embroidery....

Cascio Michael wrote:
> 
> Just got back to the computer so
> I did mean knotwork as in twining patterns.  I'm used
> to seeing it as a skirt decoration on ACW dress and
> sleeve decoration so I hadn't really considered the
> zoomorphic and anamorphic styles of decoration.  The
> quilting patterns are also just repeated cable
> sections with the occasional fiddly-bit at the corner
> but no dogs heads, etc.  Is there someplace that has
> period embroidery patterns besides blackwork?  I
> cannot, really cannot draw at all, and I can't look at
> a book of emblems and figure out what stitches to use
> or even how dense of a stitch to use for white on
> white texture.
> I do seem to remember seeing twining patterns in the
> backgrounds of some of the portraits but I'm not sure
> I would use furnishing patterns as good documentation
> for garment decoration.  Modern inspiration is fair
> game but I was hoping to do some chain stitch knotwork
> and was looking to see what time and place I needed to
> be for it to be period.  Thanks again and fascinating
> discussion.
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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Sat, 20 Sep 2003 22:09:33 -0700
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Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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I wrote:
> If I had more time I probably could find more examples. They aren't
> exactly the same as the original "Celtic knotwork" but they were doing
> the "look at old things and try to imitate them" that we also tend to
> do. (Level of success in imitation depending on how much you are
> trying to do a reproduction as opposed to "inspiration".) 

Kass wrote:
>>>> I'm
> more inclined to see this as an imitation of Italian decorative
> scrollwork than Celtic knotwork.  There is nothing Celtic or knotty
> about the portraits you've shown.  I see a bunch of interlaced vines.
> Not knotwork.
> 
> I'm talking about the Celtic knotwork that appears in manuscript
> illuminations and stone carvings.  There is no evidence of that motif
> in embroidery of any era that I have ever seen.

There is more than one kind of Celtic knotwork, evidently. The 
Italianate scrollwork is being done at the same time and is part of 
the imitative work (which was not limited to England at the time). It 
has more in common with the zoomorphic Celtic knotwork that is seen 
in both the Book of Kells and the Lindisfarne Gospels than the Ian 
Bain style that most people think of.

Yes, it is very viney, but it is also interlaced.

I wish that they had on the web the 1539 "school of Holbein" portrait 
of Henry VIII. It has a distinctly knotwork pattern of the type you 
are probably thinking of. If you have James Laver's _Early Tudor 1485-
1558_ you'll find it on plate 33. It's done in gold on the red velvet 
of his coat. (It's one of the problems with this list in that if you 
can't find it on the web and no one has the same books to use as 
reference, it's hard to see what the other person is saying.)

However, I don't believe it was done in the Celtic period as 
embroidery. Nor do I believe that the real Celts in the 16th century 
would have used the motifs such as you now see in the Irish clogger 
costumes that are worn modernly. It does not belie the imitative 
aspects of the 16th century embroideries and manuscripts with regard 
to taking motifs and ideas from the Celts (which they would not have 
seen nearly as frequently as we do. After all, they didn't have the 
plethora of books on the subject which we have so will hardly have 
the ability to do it as accurately as we would.) 

Kat
<kat@redtrollforge.com>


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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Sat, 20 Sep 2003 22:26:43 -0700
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 Is there someplace that has
> period embroidery patterns besides blackwork?  I
> cannot, really cannot draw at all, and I can't look at
> a book of emblems and figure out what stitches to use
> or even how dense of a stitch to use for white on
> white texture.

Try looking at Margaret Abegg's _Apropos Patterns_. They have several 
patterns for use in lace, white work, black work, etc. They show 
examples as well. I like it because it shows the pattern from a 
period pattern book, then nearby actual lace or embroidery (sometimes 
in several styles) which were done off of the same design. (Biggest 
problem is that the book isn't done in a specific chronologic order 
but seems to jump back and forth between 16th and 18th century and 
everything in between. So, if you start running into something from 
the 18th century, don't stop reading. Keep going as there is probably 
more stuff you'd want past that.)

They have a picture of Francois I with some knotwork on his sleeves, 
by the way. I'd forgotten about his portrait.

http://www.kfki.hu/~arthp/html/c/clouet/jean/francois.html

Kat
<kat@redtrollforge.com>


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<kat@redtrollforge.com>

I wrote:
> If I had more time I probably could find more examples. They aren't
> exactly the same as the original "Celtic knotwork" but they were doing
> the "look at old things and try to imitate them" that we also tend to
> do. (Level of success in imitation depending on how much you are
> trying to do a reproduction as opposed to "inspiration".) 

Kass wrote:
>>>> I'm
> more inclined to see this as an imitation of Italian decorative
> scrollwork than Celtic knotwork.  There is nothing Celtic or knotty
> about the portraits you've shown.  I see a bunch of interlaced vines.
> Not knotwork.
> 
> I'm talking about the Celtic knotwork that appears in manuscript
> illuminations and stone carvings.  There is no evidence of that motif
> in embroidery of any era that I have ever seen.

There is more than one kind of Celtic knotwork, evidently. The 
Italianate scrollwork is being done at the same time and is part of 
the imitative work (which was not limited to England at the time). It 

has more in common with the zoomorphic Celtic knotwork that is seen 
in both the Book of Kells and the Lindisfarne Gospels than the Ian 
Bain style that most people think of.

Yes, it is very viney, but it is also interlaced.

I wish that they had on the web the 1539 "school of Holbein" portrait 

of Henry VIII. It has a distinctly knotwork pattern of the type you 
are probably thinking of. If you have James Laver's _Early Tudor 1485-

1558_ you'll find it on plate 33. It's done in gold on the red velvet 

of his coat. (It's one of the problems with this list in that if you 
can't find it on the web and no one has the same books to use as 
reference, it's hard to see what the other person is saying.)

However, I don't believe it was done in the Celtic period as 
embroidery. Nor do I believe that the real Celts in the 16th century 
would have used the motifs such as you now see in the Irish clogger 
costumes that are worn modernly. It does not belie the imitative 
aspects of the 16th century embroideries and manuscripts with regard 
to taking motifs and ideas from the Celts (which they would not have 
seen nearly as frequently as we do. After all, they didn't have the 
plethora of books on the subject which we have so will hardly have 
the ability to do it as accurately as we would.) 

Kat
<kat@redtrollforge.com>


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Knotwork
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On Sunday 21 September 2003 01:26 am, kat@grendal.rain.com wrote:
[snip]

> They have a picture of Francois I with some knotwork on his sleeves,
> by the way. I'd forgotten about his portrait.
>
> http://www.kfki.hu/~arthp/html/c/clouet/jean/francois.html
>


Yes, indeed that is interlace, but it isn't the Bain Celtic style, nor 
anything like the Book of Kells type stuff.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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On Sunday 21 September 2003 01:05 am, Robin Netherton wrote:
> On Sat, 20 Sep 2003, Robin Netherton wrote:
> > I've been out all day and will be out all day tomorrow, so I can't try
> > digging up the image now...
>
> OK, I lied. I did take a few minutes just for a quick websearch. Try this:
>
> http://tudorhistory.org/henry8/henryred2.jpg
>
> Look at the curtain behind Henry. Knots, inside of something that could be
> called scrolling vines given their shape. Hmm, maybe we're both right.

The design on the curtain is very like the interlace work on the sleeves of 
Francis I in the portrait Kat dug up.  I'd definitely call it interlace, but 
I don't think it's either particularly viney or much like so-called Celtic 
knotwork.


>
> But that isn't the image I was thinking of -- the one I remember was
> straight and narrow, like a moulding along the edge of a panel. I may have
> the wrong king or something :-(
>
> In this one, he also has interlaced something-or-other on his oversleeve
> trim:
>
> http://tudorhistory.org/henry8/henry.jpg

This one is not as easy to see, but it looks a lot less like the interlace 
stuff to me.


> Still not the one I'm visualizing.  Just another that looked useful for
> "knotwork motif" discussion. 

Thanks for digging it up.

>Clearly there was plenty of interlacing in
> the decorative vocabulary of the time. Doesn't mean it's Celtic. 

I suspect this may have been the point Kass was trying to make.  Kass?


>And it
> doesn't mean it was used in clothing, either, though the sleeve trim does
> suggest that it was fair game.

The Francis I portrait suggests it was used in clothing, at least.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Robin:  Is this the portrait with the interlace on the "wood like" edging that 
you had in mind?

http://www.marileecody.com/henrys.jpg

-- 
Cathy Raymond <cathy@thyrsus.com>

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--Ozy and Millie
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Subject: Re: [h-cost] Celtic knotwork
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Nordic (usually swedish) "knotwork" is rather different from anglo-saxon
(yes, the knotwork part is anglo-saxon, the spirals are la Tene period
celtic) knotwork.  In general, the insular celtic work is more structured,
and the patterns have more symmetry.  Having drawn both, I find swedish
work harder to follow, as the work is more free-form.

As for designs that can be mistaken for vine-scrolls, take a look at this
mirror that was fished out of the Thames:
http://gw.retro.com/employees/lee/Tattoos/bronzemirror.jpg
Versions of similar spiral work can be found that look very similar to
italian vine scrolls.

An example of anglo-saxon goldwork from the Sutton Hoo ship burial:
http://gw.retro.com/employees/lee/Tattoos/goldbuckle.jpg
When I attempted to reproduce this design, I found that the apparent
symmetry is an illusion and strands end and begin rather arbitrarily.
Irish work often incorporates variations along a design while preserving
the appearance of symmetry, but the rules for where and how strands will
begin and end are stricter than found in anglo-saxon work.  For another
set of comparisons, look at the Lindisfarne Gospels, which is the work of
anglo-saxon scribes and compare that to Kells or Durrow.  Anglo-saxon work
is wilder and freer than celtic work, and nordic designs are even wilder.

The two photos are part of my tattoo design pages, which you can see at
http://gw.retro.com/employees/lee/Tattoos/Lee.html
http://gw.retro.com/employees/lee/Tattoos/Jody.html
The Sutton Hoo design had to be considerably simplified to get a design
that would age well.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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>http://tudorhistory.org/henry8/henryred2.jpg
>http://tudorhistory.org/henry8/henry.jpg

I'll agree with whoever said that these designs don't look like the
manuscript illuminations turned out by irish and anglo-saxon monestaries.
They actually look like cousins to DaVinci's knotwork designs.  The "rules"
of symmetry that I mentioned in my last post are quite rigid in these designs
which makes it look less like insular celtic knotwork and more like the
various italian and french designs one finds in manuscripts and architecture.
This is actually why many modern attempts at celtic knotwork look subtly
wrong.  They're too rigid and have none of the variations found in the 
original works.  This is also why I think Bain's method books only carry
one so far in learning how to reproduce insular celtic styles of decoration.

[been at it 16 years so far...]
Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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>the Irish clogger

Stepdancer, if you please.
Even the english clog dancers are _stepdancers_, not cloggers.
That's an american term.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
:wq
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Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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>Clearly there was plenty of interlacing in
> the decorative vocabulary of the time. Doesn't mean it's Celtic. 

I suspect this may have been the point Kass was trying to make.  Kass?
>>>>
That's exactly the point I was trying to make, Catherine.  Thanks for
helping me clarify.

Kass

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> They have a picture of Francois I with some knotwork on his sleeves,
> by the way. I'd forgotten about his portrait.
>
> http://www.kfki.hu/~arthp/html/c/clouet/jean/francois.html

Yes, indeed that is interlace, but it isn't the Bain Celtic style, nor 
anything like the Book of Kells type stuff.  
>>>>
Amen.  Thanks Cathy, Kat, Robin, Sue, Cassandra, everyone...

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
Date: Sun, 21 Sep 2003 08:09:01 -0400
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Kat wrote:
However, I don't believe it was done in the Celtic period as 
embroidery. 

And I respond:
Nor will I... until we did up an extant piece of embroidery from that
period.

Kat went on:
Nor do I believe that the real Celts in the 16th century 
would have used the motifs such as you now see in the Irish clogger 
costumes that are worn modernly. 

And I add: ...which are based on an early 20th century "celtic
revivalist" design.  That's okay.  I don't believe that there were any
real Celts in the 16th century (semantics).

Kat postulated:
It does not belie the imitative 
aspects of the 16th century embroideries and manuscripts with regard 
to taking motifs and ideas from the Celts (which they would not have 
seen nearly as frequently as we do. After all, they didn't have the 
plethora of books on the subject which we have so will hardly have 
the ability to do it as accurately as we would.) 

And I reply:
I see where you're coming from with this idea, but I don't know that
there is anything to support the idea that these 16th century
embroiderers were trying to imitate the Celts at all.  I cannot remember
who, but someone earlier in this discussion mentioned that there was
knotwork in a portrait of Henry to indicate his Welsh background.  That
made me wonder if that was known or if it was a modern assumption.

Sixteenth century England is not my area of expertise, but in all my
reading, I've never seen evidence that the English of that period (or
anyone for that matter) were making an attempt to copy the decorative
techniques of the ancient Celts.  Is there evidence of such a trend?  I
mean, as you say, they wouldn't have seen the manuscripts (most of which
were either hidden or lost until the 20th century) or the stone carvings
nearly as frequently as we do today.

Just a thought.  If there's no primary documentation of an active desire
by the 16th century English to imitate the designs of the Celts, I don't
see how this idea can be supported.

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] da Vinci shoe article - NYTimes
Date: Sun, 21 Sep 2003 08:13:23 -0400
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I'm wondering if this writer even knew about pattens, clogs etc.  Anyone

know when the high heels with the *toe on the ground* came in?  
>>>>
Hi Edwina.

I can tell you that there is an extant shoe from the 1650s or 60s in the
V&A and it has a raised heel.  It's built like a modern mule: vamp,
sole, no back.  There is a heel that is higher than the toe, but I doubt
if it is more than 2" high.

I don't know if there are any extant 16th century shoes.  Anyone?

Kass

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Back to the computer again before church and I've had
a chance to see all the posts so...
I believe what I'm interested in doing is the
interlaced cables, relatively complicated with six or
seven interlacing lines that interlace and knot over
and above each other without leaves or legs or heads
or anything, just the repeated sections of cables. 
I've got the Bain and there are several knotwork
workbooks at the local indie bookstore but the
patterns just looked a little off.  If the problem is
the rigidity of the symmetry that may be what is
bothering me.  I've had more success getting the
correct feel when I've added lines here and there to
fill the space a little more.  Some kind soul
suggested the Viking answer lady and the Spanish (?)
regions as a place to look so I'll search there.
I'm really being brain dead after my surgery with more
treatments upcoming so I'm hoping for someone to
direct me to an interlaced pattern embroidered on the
neckline or sleeve ends of a simple shirt.  I don't
mind doing white on white  I just think the repetition
of knotwork lines interlacing with split or chain
stitch would be just the thing for me right now.  If
there's not a period for this other than modern then
that's okay too but I'm finding the discussion and all
the portrait links great inspiration for when I feel
human again.  Thanks again.
                                    Cassandra


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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I wrote:

> >Clearly there was plenty of interlacing in
> > the decorative vocabulary of the time. Doesn't mean it's Celtic. 

Catherine said:

> I suspect this may have been the point Kass was trying to make.  Kass?

Yes, and I was agreeing with her.  The original statement I responded to
was one of Kass's, as follows:

<<Matter of fact, we don't even have evidence that knotwork was used as
a decorative technique in the 16th century at all on any kind of
medium.>>

That was a pretty sweeping statement and could easily have been taken out
of context from Kass's intent (as Kass, it now seems had a very narrow
definition of "knotwork"). I wanted to point out that there was indeed
knotwork used as a decorative technique in the 16th century, in some
media. But I agreed with Kass's larger point that this didn't mean the
people in the 16th century were doing "Celtic knotwork" -- rather, that
this was a decorative motif that could appear in many places. (In the same
way, you'll see warp-and-weft stripes that create checked cloth that we
might call "plaid" in many cultures, but that doesn't mean they're all
based on Celtic influence -- yet I've heard some people assume just that.)

I also wrote:

> >And it
> > doesn't mean it was used in clothing, either, though the sleeve trim does
> > suggest that it was fair game.
> 
> The Francis I portrait suggests it was used in clothing, at least.

Sorry, this is what I get for writing in a rush last night. (I'm on day 3
of a three-day craft show, and have to leave again shortly.) My point,
again going back to the original discussion, was that the use of knotwork
on clothing in the 16th century doesn't mean that the Celts used knotwork
on clothing. It does mean that at least one culture thought of taking a
decorative motif used on some non-clothing decor and using it on clothing
as well. The Celts might have done so too, but we can't assume they did
simply because we have knotwork in illuminations and carvings.

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] That elusive portrait of Henry VIII
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On Sun, 21 Sep 2003, Catherine Olanich Raymond wrote:

> Robin:  Is this the portrait with the interlace on the "wood like"
> edging that you had in mind?
> 
> http://www.marileecody.com/henrys.jpg

Thanks, but no. I'm remembering something painted in color, with a narrow
rail or moulding strip or tile design that had a long interlace. I
remember the optical effect of "relief" to the strands of interlace --
either painted on a tile or wall, or actually carved into the moulding
(and then, of course, painted as such in the painting). This is really
nagging at me now! I can visualize part of the painting in my head but
can't plug it into a larger picture. And Tudor isn't my period, so I don't
have anything in my slide library. Very frustrating.

I will probably stumble on it again in a few months and find out I had a
completely different king, century, and country in mind :-(

--Robin

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Subject: Re: [h-cost] That elusive portrait of Henry VIII
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This is going to sound odd but have you looked at clipart.com? There is a
ton of recreated knot work on the site, more than most of us have time to
look at. But if you have a better description I can do a search on the
members only database for you unless you have your own membership to it. We
have had a membership to it for almost a decade (through two name changes
and many price changes) they are pretty incredible not to mention saving me
from having a single computer dedicated to gigabytes of storage to art.

They have images from whole books scanned in there. Blanche White's books
from the UT press are in there. Most of the Dover books are also in there.
But my personal favorites are those architectural plans for the decorations
of the Crystal Palace.

I would not doubt that the trim you are looking for is in there or a
facsimile of it from the Victorian era by Dover is in there.

Chiara

----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, September 21, 2003 9:47 AM
Subject: Re: [h-cost] That elusive portrait of Henry VIII


:
: On Sun, 21 Sep 2003, Catherine Olanich Raymond wrote:
:
: > Robin:  Is this the portrait with the interlace on the "wood like"
: > edging that you had in mind?
: >
: > http://www.marileecody.com/henrys.jpg
:
: Thanks, but no. I'm remembering something painted in color, with a narrow
: rail or moulding strip or tile design that had a long interlace. I
: remember the optical effect of "relief" to the strands of interlace --
: either painted on a tile or wall, or actually carved into the moulding
: (and then, of course, painted as such in the painting). This is really
: nagging at me now! I can visualize part of the painting in my head but
: can't plug it into a larger picture. And Tudor isn't my period, so I don't
: have anything in my slide library. Very frustrating.
:
: I will probably stumble on it again in a few months and find out I had a
: completely different king, century, and country in mind :-(
:
: --Robin
:
: _______________________________________________
: h-costume mailing list
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Celtic knotwork and plaid -- my favourites!
Date: Sun, 21 Sep 2003 10:54:48 -0400
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Hi Robin.  Hope you're enjoying your craft show.
>>>>
That was a pretty sweeping statement and could easily have been taken
out
of context from Kass's intent (as Kass, it now seems had a very narrow
definition of "knotwork"). 
>>>>
Yes, indeed I do.  Thank you for helping clarify it for me.  To me, if
you say, "Celtic knotwork", it means a very specific motif that existed
only in stone carvings and illuminated manuscripts.  The argument if
it's even Celtic is best saved for another time.  But in any case,
*that* is what I was saying isn't seen in embroidery, neither in the
16th century nor in the actual Celtic period.  And you can't just assume
that because they used in on stone, they used it on linen or wool or
silk.  I mean, unless your intention is to make a costume that isn't
really based on any historical model, you shouldn't be embroidering
Celtic knotwork all over the place.  Unless, of course, your historical
model is from early 20th century Ireland (1900-1920s).  That is the
first era in which I find documentation for Celtic knotwork embroidery.
>>>>
I wanted to point out that there was indeed
knotwork used as a decorative technique in the 16th century, in some
media. But I agreed with Kass's larger point that this didn't mean the
people in the 16th century were doing "Celtic knotwork" -- rather, that
this was a decorative motif that could appear in many places. (In the
same
way, you'll see warp-and-weft stripes that create checked cloth that we
might call "plaid" in many cultures, but that doesn't mean they're all
based on Celtic influence -- yet I've heard some people assume just
that.)
>>>>
Yup.  I also have this argument all the time -- people assuming that any
instance of plaid/tartan equates with Celtic/Scottish origin.  It's not
hard to put a couple different-coloured threads next to each other on a
loom and come up with a pretty pattern that we call "plaid".  Matter of
fact, nearly every culture on earth has done some form of it.  It
doesn't mean they all learned it from the Celts.  Matter of fact, it's
not even certain that the Celts wove plaid.  Do we actually have any of
Celtic origin?  (And by "Celtic", I *do not* mean Scottish or Irish or
Welsh or Cornish or Max or Breton -- I mean good, old ancient Roman-era
and pre-Roman-era Celtic).  See this:
http://www.reconstructinghistory.com/celtic/plaid.html 

Caveat:  a friend wrote most of the above article.  I disagree with her
first paragraph.  Although the word plaid came to mean "pleated" in
English, in Gaelic, it most definitely meant a blanket or rug.  Still
does.  =)

As I said earlier in this discussion, lots of different cultures who
never had contact with each other have crosses and swastikas and
six-pointed stars in their decorative motifs.  These are simple things
to invent.  So are interlaced designs and plaid.

Kass

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One of my favorite dresses shows up in Dunleavy, and dates from about
then, I think (without hauling over to the bookcase and looking it up). 
It's a silk? tea gown with (I think) various painted celtic knotwork
designs on it.  If I ever had a reason to do a fin-de-siecle Irish gown,
that would be the one!
And someday, I'll be making myself a shirt covered in knotwork and
zoomorphs and everything else, but it'll be for mundane fun.  I fell in
love with a description of one in a novel many years ago...;-)
--sue

Kass McGann wrote:
> 
I mean, unless your intention is to make a costume that isn't
> really based on any historical model, you shouldn't be embroidering
> Celtic knotwork all over the place.  Unless, of course, your historical
> model is from early 20th century Ireland (1900-1920s).  That is the
> first era in which I find documentation for Celtic knotwork embroidery.
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Celtic knotwork and plaid -- my favourites!
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One of my favorite dresses shows up in Dunleavy, and dates from about
then, I think (without hauling over to the bookcase and looking it up). 
It's a silk? tea gown with (I think) various painted celtic knotwork
designs on it.  If I ever had a reason to do a fin-de-siecle Irish gown,
that would be the one!
>>>>
I know the one you mean, Sue.  It was made by the Dun Emer Guild in
Dublin in 1928 and designed by Sarah Purser.  It's silk embroidery on
poplin.  I'm assuming that they mean real poplin (a wool/silk blend) and
not modern cotton poplin.  The photograph shows that decidedly real
poplin sheen so I assume it's the real deal.
>>>>
And someday, I'll be making myself a shirt covered in knotwork and
zoomorphs and everything else, but it'll be for mundane fun.  I fell in
love with a description of one in a novel many years ago...;-)
>>>>
THAT would be cool...

Kass

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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On Sunday 21 September 2003 07:51 am, Kass McGann wrote:
> >Clearly there was plenty of interlacing in
> > the decorative vocabulary of the time. Doesn't mean it's Celtic.
>
> I suspect this may have been the point Kass was trying to make.  Kass?
>
> That's exactly the point I was trying to make, Catherine.  Thanks for
> helping me clarify.

You're welcome.  Clarification's my specialty.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] That elusive portrait of Henry VIII
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On Sunday 21 September 2003 10:47 am, Robin Netherton wrote:
> On Sun, 21 Sep 2003, Catherine Olanich Raymond wrote:
> > Robin:  Is this the portrait with the interlace on the "wood like"
> > edging that you had in mind?
> >
> > http://www.marileecody.com/henrys.jpg
>
> Thanks, but no. I'm remembering something painted in color, with a narrow
> rail or moulding strip or tile design that had a long interlace. I
> remember the optical effect of "relief" to the strands of interlace --
> either painted on a tile or wall, or actually carved into the moulding
> (and then, of course, painted as such in the painting). This is really
> nagging at me now! I can visualize part of the painting in my head but
> can't plug it into a larger picture. And Tudor isn't my period, so I don't
> have anything in my slide library. Very frustrating.

Hmmm.  Okay.  If you ever find it, please let us all know!  I think it's 
nagging at the rest of us too, by now.  :-)
>
> I will probably stumble on it again in a few months and find out I had a
> completely different king, century, and country in mind :-(


Perhaps.  But if the century is before the 20th it would still supply 
interesting fuel for the debate.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] That elusive portrait of Henry VIII
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On 18:09 21/09/2003 Catherine Olanich Raymond said
> > On Sun, 21 Sep 2003, Catherine Olanich Raymond wrote:
> > > Robin:  Is this the portrait with the interlace on the "wood like"
> > > edging that you had in mind?
> > >
> > > http://www.marileecody.com/henrys.jpg

That's the Cartoon for the great fresco at Whitehall and is the one that 
all the other portraits of mid to late period Henry VIII are based on. It 
is, of course, by Holbein the Younger.
Which brings me to the point. As well as wonderful portraits, Holbein did 
jewellery designs. Perhaps your knotwork is one of those?
http://www.jewelryexpert.com/articles/Jewellery-as-an-Art.htm



Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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Subject: Re: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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Robin wrote:
> Though I did once see some Celtic-type knotwork in, hmm, either tiling or
> wall paint on a surface in the background behind a portrait of Henry VIII.

The portrait is from ca 1536, attributed (but not confrmed) to Hans Holbein.
The knotwork appears on wall hangings/drapes behind a standing Henry, and
there is additional knotwork with acanthus-type leaves on his doublet.
                -Aidan


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Subject: Re: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
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And here's a link for the portrait from Altavista:

http://www.tudor-portraits.com/Henry3.jpg


       -Aidan


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Knotwork
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On Sunday 21 September 2003 07:54 am, Kass McGann wrote:
> > They have a picture of Francois I with some knotwork on his sleeves,
> > by the way. I'd forgotten about his portrait.
> >
> > http://www.kfki.hu/~arthp/html/c/clouet/jean/francois.html
>
> Yes, indeed that is interlace, but it isn't the Bain Celtic style, nor
> anything like the Book of Kells type stuff.
>
> Amen.  Thanks Cathy, Kat, Robin, Sue, Cassandra, everyone...

You're welcome.

It always annoys me, by the way, when people assume that a particular motif 
from architecture was used for costume without evidence.  Certainly it could 
have been, but the mere presence of the motif in architecture doesn't mean it 
was used elsewhere.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Joann's veggie dye fabric/ Celtic knotwork
Date: Sun, 21 Sep 2003 15:47:51 -0400
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The portrait is from ca 1536, attributed (but not confrmed) to Hans
Holbein.
The knotwork appears on wall hangings/drapes behind a standing Henry,
and
there is additional knotwork with acanthus-type leaves on his doublet.
>>>>
Very interesting!  Thank you for posting the picture, Aidan.

Is this the one that someone said was intended to represent his Welsh
origins?  I'm still wondering if that was a fact (gleaned from
contemporary documents) or a modern assumption.

Anyone know?

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Knotwork
Date: Sun, 21 Sep 2003 15:52:45 -0400
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It always annoys me, by the way, when people assume that a particular
motif 
from architecture was used for costume without evidence.  Certainly it
could 
have been, but the mere presence of the motif in architecture doesn't
mean it was used elsewhere.
>>>>
You and I are of one mind on that subject, Cathy.  I mean, if you want
to design a costume that isn't based on historical models and give it a
Celtic "feel", sure.  Add some interlaced doggies from the Book of
Kells.  But just because a motif is used in one medium by a culture,
doesn't mean it was used in all of them.

Kass

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Subject: [h-cost] Baroque idea of Amazon Queen masque costumes - FUN ones
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Last weekend we went to the last multi-period event of the year and had great
fun! We had decided to do something different for the dance on Saturday night
and went as the Baroque idea of Amazon Queens, or any old masque costume,
really. Tash and I went a bit further with our costumes than Ulli and Sophie.

However, they are not made from authentic materials at all, but are modern fun
versions but with correct underpinnings and such. Difficult to describe, just
have a look *G*

http://www.kipar.org/society/events/03-09_military-odyssey.html

I actually based mine on a late 17th c. painting by Claude Derouet.

Have fun, because we had a blast!

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

Email: nicole@kipar.org
URL: http://www.kipar.org

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Baroque idea of Amazon Queen masque costumes - FUN ones
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Last weekend we went to the last multi-period event of the year and had
great fun! We had decided to do something different for the dance on
Saturday night and went as the Baroque idea of Amazon Queens, or any old
masque costume, really. Tash and I went a bit further with our costumes
than Ulli and Sophie.
>>>>
What fun it looks, Nicole!  And what beautiful weather you had.  Envy
envy envy...

Kass
shoes still drying out from last weekend's event

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From h-costume-bounces@indra.com  Sun Sep 21 17:27:01 2003
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> I actually based mine on a late 17th c. painting by Claude Derouet.

That wouldn't be the one with the lady falling backwards off the 
horse, would it?

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Sun Sep 21 17:53:11 2003
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Yeah, wouldn't it, though? I'm imagining a historically-based pattern
for the shirt (sort of a cross between 18th c. men's shirts and English
"smocks")--full sleeves with cuffs, minimal "yoke," placket opening for
the neck.  Minimal or band collar.  I want it just crawling with people
and critters and vines and colors.  Done in silk, of course.  In that
eensy, tiny split stitch used for opus anglicanum.
My sticking point, so far, has been finding the right fabric for the
shirt itself....I'm thinking a linen twill as first choice, or a wool
twill, if I could find it in the right white or off-white.  And finding
the right silk floss, of course.  Most all of the stuff I've been able
to find is too twisted.
--sue

Kass McGann wrote:
> 

> >>>>
> And someday, I'll be making myself a shirt covered in knotwork and
> zoomorphs and everything else, but it'll be for mundane fun.  I fell in
> love with a description of one in a novel many years ago...;-)
> >>>>
> THAT would be cool...
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From h-costume-bounces@indra.com  Sun Sep 21 17:58:35 2003
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Yeah, wouldn't it, though? I'm imagining a historically-based pattern
for the shirt (sort of a cross between 18th c. men's shirts and English
"smocks")--full sleeves with cuffs, minimal "yoke," placket opening for
the neck.  Minimal or band collar.  I want it just crawling with people
and critters and vines and colors.  Done in silk, of course.  In that
eensy, tiny split stitch used for opus anglicanum.
>>>>
Wow!  That's going to be an amazing piece, Sue.  Good luck with it!

Kass

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From h-costume-bounces@indra.com  Sun Sep 21 18:01:43 2003
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Oh, but you must have had a *blast!* Silliness and seriousness, all in
one weekend.  And good weather, to boot!
--sue, enjoying some decent (for once) Indian summer weather in her neck
of the woods

N Kipar wrote:
> 
> Last weekend we went to the last multi-period event of the year and had great
> fun! We had decided to do something different for the dance on Saturday night
> and went as the Baroque idea of Amazon Queens, or any old masque costume,
> really. Tash and I went a bit further with our costumes than Ulli and Sophie.
> 
> However, they are not made from authentic materials at all, but are modern fun
> versions but with correct underpinnings and such. Difficult to describe, just
> have a look *G*
> 
> http://www.kipar.org/society/events/03-09_military-odyssey.html
> 
> I actually based mine on a late 17th c. painting by Claude Derouet.
> 
> Have fun, because we had a blast!
> 
> Nicole
> 
> =====
> Cap'n Cat of the good ship 'Harlot'
> http://www.kipar.org/society/author/pirates/
> 
> Email: nicole@kipar.org
> URL: http://www.kipar.org
> 
> ________________________________________________________________________
> Want to chat instantly with your online friends?  Get the FREE Yahoo!
> Messenger http://mail.messenger.yahoo.co.uk
> _______________________________________________
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*snort*
I'll need all the luck I can get! and time, too.  Although, first I've
got to slog through the blackwork for my Eternal Italian Camicia. ;o)
--sue

Kass McGann wrote:
> 
> Yeah, wouldn't it, though? I'm imagining a historically-based pattern
> for the shirt (sort of a cross between 18th c. men's shirts and English
> "smocks")--full sleeves with cuffs, minimal "yoke," placket opening for
> the neck.  Minimal or band collar.  I want it just crawling with people
> and critters and vines and colors.  Done in silk, of course.  In that
> eensy, tiny split stitch used for opus anglicanum.
> >>>>
> Wow!  That's going to be an amazing piece, Sue.  Good luck with it!
> 
> Kass
> 
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Kass wrote:

>There are many textual
>references to Irish "shaggy mantles" of which the Mantle of St. Brigid
>(housed in the Cathedral at Bruges) may be an extant example.  It has
>long, unspun pieces of wool inserted into the weave which would have
>been worn on the inside and would have made the garment warm and nearly
>waterproof.  This is where people get the mistaken impression that Irish
>mantles should be fur lined.

I don't know squat about the scholarship behind them, but the historical 
notes accompanying Folkwear Pattern 206 (Kinsale Cloak) details a process 
in which the wool for said cloak was made waterproof; IIRC it involves 
brushing the wool and manipulating the fibers into ringlet curls. (I don't 
have the pattern to-hand and don't know when I'll get back to Queens to 
retrieve it.) While I'm fairly certain that this would have been in a much 
later period than the one you're discussing, could these "shaggy mantles" 
have been treated in a similar fashion?


Brenda
webwarren@earthlink.net


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Hello all,
    I think I am guilty of assuming that what I wanted
was Celtic as that is how it is referred to when it's
quilting.  Given that that is the design I want to
embroider can someone give me the stats on the Dunlevy
book?  Are there any photos of this dress on-line or
close-ups of the embroidery?  I've seen the
stepdancing costumes but would like something a little
more historical.  1920s works for me.  Fascinating
discussion.
                                Cassandra

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Subject: Re: [h-cost] Celtic knotwork
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At 2:43 PM -0500 9/20/03, H. Law wrote:
>Don't remember who, but someone said the Celtic knotwork in the 
>Henry 8 portrait was probably a conscious thing connected with 
>henry's welsh ancestry.  I've never seen "Celtic Knotwork" on 
>pre-Henry  celtic/gaelic garb before, but some Norse stuff had 
>similar work. often animal-interlace. (Those cute little eely things 
>in the book of kells are a great -*legitimate*- excuse for the 
>really intense knotwork - just stick a little head on one end, taper 
>off the other one for a tail and away you go!:-P )


I know I'm coming in a little late on this one, but I'll add my voice 
to those who note that it can be badly misleading to think of _all_ 
interlace/strapwork-type motifs as "Celtic knotwork".  Even during 
the heyday of early medieval Irish manuscript art, interlace designs 
-- whether zoomorphic or not -- were not at all confined to 
Celtic-speaking regions.  And  there seems no reason to connect late 
medieval/renaissance strapwork designs -- whether in Britain or the 
Mediterranean region -- with the artistic context of the early Irish 
manuscripts.

Here's a question:  _Why_ would it be reasonable to think that Henry 
VIII would consider using strapwork/interlace as an expression of his 
Welsh ancestry?  I know of no reason to believe that a late medieval 
Welsh person would consider such motifs to be peculiarly associated 
with his culture or to be an expression of it.  The expansion of 
early insular manuscript art to being an icon of "Celticity" is a 
modern phenomenon.


>There is also the Spanish-Moorish textiles where the interlace motif 
>is allovertheplace.  The Book of Kells-type stuff is thought to have 
>arrived through traveling early-xtian monks who had access to Coptic 
>manuscripts in Egypt, where the moorish and african influence on 
>design was strong.


To the best of my knowledge, any theories about Egyptian origins of 
early Insular manuscript styles are not widely accepted in the Celtic 
academic community.  Since there's a reasonable continuity of style 
from pre-Christian artwork (e.g., in metal) of the La Tene style up 
through the Irish manuscript art of the early medieval period, I'm 
not sure why there would be a need to look as far afield as Egypt for 
an explanation of those artistic styles.


>If you're looking for interlace designs on clothes, try a Nordic 
>influence, or someone who has travelled to Spain. (Spain would also 
>open up allover designs for you to use.)
>There is, or was, a publication by someone in SCA (actually several 
>of them!) that showed some embroidery from Welsh garb;

As far as I'm aware (and I pay attention to things like this), there 
is only one (1) surviving example of embroidery from medieval Wales 
-- a 10th century piece in silk on linen (although it survived in 
completely carbonized form) whose strongest artistic connections seem 
to be with imported silks from the East, involving stylized "lions", 
and birds enclosed in hexagonal frames of vegetation.  No real 
resemblance to local vernacular art at all.  If you're aware of some 
other surviving pieces of medieval Welsh embroidery, I'd desperately 
like to have leads on them.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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"Dress in Ireland," by Mairead Dunlevy.  The copy I've got was published
in 1989, so I have no idea if it's still in print or not.
Oh...the ISBN is 0-8419-1269-8
As far as the dress goes, it looks like Kass and I are actually talking
about two entirely separate dresses, both in the same book.  I was
referring to a "batik-printed tea gown and tunic, about 1905" on p.
175.  Kass, I think, was referring to a later dress on p. 177.  That one
is noted as an "embroidered dress and brat made by the Dun Emer Guild,
Dublin, about 1928, and said to have been designed by the artist Sarah
Purser.  It is of peacock-blue poplin.  The bodice is lined with silk
and trimmed with silk chiffon.  The silk embroidery is in rich shades of
blue and purple."
They're both beautiful dresses reflective of their respective time
periods AND a recurring interest in Irish art and nationalism.  The
photos are b/w, though, so I can't tell what colors are in my printed
tea gown, except that they look strong (good contrasts).
I have never seen either garment in anything except this one book,
sorry, although the "list of illustrations" notes that they're both in
the National Museum in Dublin (I'm assuming it's referring to the
photographs, and not the actual garments).
Looking through this book, though, I once again found my most-favorite
dress from the 18th c., that I actually want to recreate some day. It's
on p. 127, and is described as a "morning robe, about 1785, of Irish
linen printed with wood blocks in two shades of red as well as yellow,
mauve and black."  The photo shows the gown from the back, which is
narrow and has several pieces in the bodice.  The bodice back is
slightly pointed, and the modestly full skirt looks to be cartridge
pleated to the bodice.  The visible (right) sleeve looks fairly plain
and narrow, and extends at least past the elbow.  I can't see any of the
front details.
The fabric is light in color, with a widely-spaced, viney-looking
pattern of flowers and leaves (looks a lot like some of the other
fabrics I've seen from that time).  It's apparently in the National
Museum, as well.
Darn it, I don't remember seeing any of this stuff when I was there last
year!
-sue, who figures any excuse to go back to Dublin is a pretty good
excuse! <g>

Cascio Michael wrote:
> 
> Hello all,
>     I think I am guilty of assuming that what I wanted
> was Celtic as that is how it is referred to when it's
> quilting.  Given that that is the design I want to
> embroider can someone give me the stats on the Dunlevy
> book?  Are there any photos of this dress on-line or
> close-ups of the embroidery?  I've seen the
> stepdancing costumes but would like something a little
> more historical.  1920s works for me.  Fascinating
> discussion.
>                                 Cassandra
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Irish/Scots brat
Date: Sun, 21 Sep 2003 20:42:26 -0400
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I don't know squat about the scholarship behind them, but the historical

notes accompanying Folkwear Pattern 206 (Kinsale Cloak) details a
process 
in which the wool for said cloak was made waterproof; IIRC it involves 
brushing the wool and manipulating the fibers into ringlet curls. (I
don't 
have the pattern to-hand and don't know when I'll get back to Queens to 
retrieve it.) While I'm fairly certain that this would have been in a
much 
later period than the one you're discussing, could these "shaggy
mantles" 
have been treated in a similar fashion?
>>>>
Hi Brenda.  The technique described on Folkwear's Kinsale cloak is one
purported by A.T. Lucas in his article "Cloth Finishing in Ireland" (in
Folklife, Volume 6, 1968, pp 53-61).  In this article, a man who made
waterproof cloaks in the early 20th century demonstrates this "ancient"
technique.  But like all "traditional" folk techniques, I have serious
doubts as to whether this was the same method used to make the interior
of 16th century brats furry.

The Mantle of St. Brigid that I mentioned earlier was not made in this
way.  The fragment which is housed in the Cathedral at Bruges is a piece
of tabby weave wool with unspun wool inserted into the weave, not unlike
velvet.  This mantle appears in the Cathedral's inventory of 1347 and is
a much better representative of how brats may have been made.  It's not
16th century, of course.  But at least it's not early 20th.  Henry
Foster McClintock described the mantle extensively in his article "The
Mantle of St. Brigid at Bruges" in The Journal of the Royal Society of
Antiquaries of Ireland, Vol LXVI, 1936, pp 3240.

By the way, this technique has absolutely nothing to do with how Kinsale
Cloaks were made.  =)

Kass

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Subject: [h-cost] Help with Bustles
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I'm taking a costuming class right now, focused on the years 1870-1885. 
  Our teacher has us making our bustles from Hunnisett's 1800-1909 book, 
page 133 petticoat "B".  Essentially, it's a flounced skirt with a 
bustle pad on top.  However, I'm having trouble grasping what era this 
combination would be appropriate for.  You don't have to lecture me on 
how Hunnisett is a theatrical costumer, I already know.  ;)  Near as I 
can tell, this combo might be what's under the "Natural Form" dresses 
from the mid 70s to the early 80's.  Since this is so not my period, 
I'm actually pretty lost and would love some information on whether 
this is correct.  You can see what I'm aiming for here: 
http://www.elizabethanlady.com/victorian/victorian.html

Help?

Sarah
The Elizabethan Lady going crazy with Victorian fashion...

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Subject: Re: [h-cost] Help with Bustles
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Hi Sarah,

Yes, you're right -- your bustle/petticoat combination is aiming for late
1870's/early 1880's.  There are some nice sketches of petticoats from this
era in Cunnington's _English Women's Clothing in the Nineteenth Century_ and
images from fashion plates in Blum's _Victorian Fashions and Costumes from
Harper's BAzar, 1867-1898_.

If you'd like to look at some dresses from this period, check out some of
the Dover fashion plate reprints (like the ones from La Mode Illustree) or
browse through the late 1870's/early 1880's links on this page:
http://demode.tweedlebop.com/realvict.html#1870

- Kendra
http://demode.tweedlebop.com

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Subject: Re: [h-cost] Celtic  and Tudor knotwork
Date: Sun, 21 Sep 2003 23:07:51 -0400
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Roy Strong, in his book The Renaissance Garden in England, briefly discusses the Tudor love for flat intertwined patterns, since this is the basis for that lovely Tudor invention, the knot garden.  He says "Knots were known in the fifteenth century but it is only with the expansion of gardening under the early Tudors and with the influence of France that their full potential was realized."  

He quotes a poem from 1509 by Stephen Hawes:
"Than in we wente to the garden gloryous,
Lyke to a place of pleasure most solacyous.

Wyth Flora paynted and wrought curyously,
In divers knottes of marvaylous gretenes...."

Henry VIII had planted "elaboratedly patterned knots carried out on a large scale..." in the 1530's.  "There are no surviving designs for early Tudor knots or mazes and the earliest appear in Thomas Hill's The Profitable Art of Gardening (1568) and Didymus Mountain's The Gardeners Labyrinth (1571).  These are of the same type as those that appear in the Gaillon engraving and all are closely related to designs which appear on carpets and embroidery."  He mentions one Thomas Trevelyon who worked during the reign of James I and devised designs for embroidery, woodworking and knot gardens.

By this time, knot gardens were no longer fashionable among the elite and in 1625, Francis Bacon writes:
"As for the making of knots or figures, with divers coloured earths that they may lie under the windows of the house on that side which the garden stands, they be but toys; you may see as good sights many times in tarts."

Strong feels that the isolation of England from the artistic trends in Italy (due to religious conflict) led to the dominance in many arts of two-dimensional geometric patterns, with embroidery being the most promient.  Neither the Welsh or the Irish are mentioned but apparently we should not be surprised by the appearence of "knotwork" on any Tudor clothes or furnishings.

Janet Davis

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com 
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Celtic  and Tudor knotwork
Date: Sun, 21 Sep 2003 23:25:12 -0400
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Strong feels that the isolation of England from the artistic trends in
Italy (due to religious conflict) led to the dominance in many arts of
two-dimensional geometric patterns, with embroidery being the most
promient.  Neither the Welsh or the Irish are mentioned but apparently
we should not be surprised by the appearence of "knotwork" on any Tudor
clothes or furnishings.
>>>>
*Tudor* knotwork.  Well there's a thought!  Thanks for the wonderful
information, Janet.

Kass

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Subject: Re: [h-cost] Knotwork
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The reason people assume that a particular motif from architecture would
also be used for costume is that this is the generally the case.  Design
trends tend to permeate through architecture, fonts, clothing designs,
gardens etc.  Clothing and architecture especially go hand in hand and this
is one of the first things taught in fashion design courses, although not
courses for museum quality reproductions :-)

I do appreciate that when one desires to make a historically accurate
garment that the specific details of this assumption should be checked for
evidence of occurrence, but a respectable starting hypothesis would be that
yes this design would be found in both instances.  It might not be, but it
is much more reasonable to assume it would than it would not.  Generally
speaking.

Lisa Sinervo
www.thrednedlestrete.com



----- Original Message -----
From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Sunday, September 21, 2003 12:52 PM
Subject: RE: [h-cost] Knotwork


> It always annoys me, by the way, when people assume that a particular
> motif
> from architecture was used for costume without evidence.  Certainly it
> could
> have been, but the mere presence of the motif in architecture doesn't
> mean it was used elsewhere.
> >>>>
> You and I are of one mind on that subject, Cathy.  I mean, if you want
> to design a costume that isn't based on historical models and give it a
> Celtic "feel", sure.  Add some interlaced doggies from the Book of
> Kells.  But just because a motif is used in one medium by a culture,
> doesn't mean it was used in all of them.
>
> Kass
>
> _______________________________________________
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Knotwork
To: Historical Costume <h-costume@indra.com>
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In the case of knot-work, there are enough surviving
pieces of leather, belt buckles, brooches, scabbards
and horse harness with knot-work decoration that we
are probably safe in saying that Celtic types used
knot-work on their garments as well. At least up until
the 11th century. Evidence after that gets iffy. Dr.
Anne Ross's books give plenty of documentation on the
archaeological evidence. 



--- Lisa Sinervo <Lisa-list@friendliest.com> wrote: >
The reason people assume that a particular motif
> from architecture would
> also be used for costume is that this is the
> generally the case.  Design
> trends tend to permeate through architecture, fonts,
> clothing designs,
> gardens etc.  Clothing and architecture especially
> go hand in hand and this
> is one of the first things taught in fashion design
> courses, although not
> courses for museum quality reproductions :-)
> 
> I do appreciate that when one desires to make a
> historically accurate
> garment that the specific details of this assumption
> should be checked for
> evidence of occurrence, but a respectable starting
> hypothesis would be that
> yes this design would be found in both instances. 
> It might not be, but it
> is much more reasonable to assume it would than it
> would not.  Generally
> speaking.
> 
> Lisa Sinervo
> www.thrednedlestrete.com
> 
> 
> 


=====
Aurum peccamenes multifariam texit

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Knotwork
Date: Mon, 22 Sep 2003 09:18:05 -0400
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I do appreciate that when one desires to make a historically accurate
garment that the specific details of this assumption should be checked
for
evidence of occurrence, but a respectable starting hypothesis would be
that
yes this design would be found in both instances.  It might not be, but
it
is much more reasonable to assume it would than it would not.  Generally
speaking.
>>>>
I don't think this statement is based on anything more than assumption
based upon personal experience with the relationship between motifs in
clothing and architecture.  Lack of evidence against the existence of a
design motif does not constitute proof for it.  This is like trying to
prove a negative.  And it's bad scholarship.  I'd really like to know
upon what grounds you are stating that this is "generally the case".  My
experience wildly differs from that.  Is it perhaps generally the case
in late 19th century art and architecture?  In the decorative techniques
of the Aztecs?  In 10th century Japan?

No proof means no proof.  The end.

Perhaps the first thing that gets taught in fashion design courses isn't
historically sound.

Kass 

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Knotwork
Date: Mon, 22 Sep 2003 09:30:33 -0400
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In the case of knot-work, there are enough surviving
pieces of leather, belt buckles, brooches, scabbards
and horse harness with knot-work decoration that we
are probably safe in saying that Celtic types used
knot-work on their garments as well. At least up until
the 11th century. Evidence after that gets iffy. Dr.
Anne Ross's books give plenty of documentation on the
archaeological evidence. 
>>>>
No.  We aren't.  Not unless there are surviving sample on clothing.
This is exactly what Robin and Heather and I are talking about -- the
presumption that leather, metal and stone decorative techniques equate
to embroidery or other cloth embellishment techniques.  You simply
cannot make that leap with any certainty.

Kass

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From h-costume-bounces@indra.com  Mon Sep 22 09:55:49 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Knotwork
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I'm not actually disagreeing with you as to what you will find when you
finish your investigations.  I'm just stating that when someone has some
bright idea in their head that "I'd like to make blah blah blah" and sees
some motif of a period, it's not a waste of time, but in fact a great
beginning to see if it actually occurs in the other media they wish to
translate it to.  Then of course they might find the motif is reserved for
religious, ceremonial purposes, or whatever and may decide against it.

I meet quite a few people who are really interested in making more
historically accurate garments and a good starting point for creative
expansion is to start to incorporate motifs from the period.  It might not
be a museum quality garment, but growth comes in stages.  After awhile, one
starts to notices that this motif here looks out of place there.  It doesn't
happen over night, but most of us would go around nude for years if we
waited until we had enough knowledge to make a museum quality garment before
we picked up a needle.  And you don't know what you don't know until you
know.

Perhaps I associate with another crowd of people than some of you on the
list here so I am less inclined to be "annoyed" by the "mistakes" of others.

Cheers,

Lisa Sinervo




----- Original Message -----
From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Monday, September 22, 2003 6:18 AM
Subject: RE: [h-cost] Knotwork


> I do appreciate that when one desires to make a historically accurate
> garment that the specific details of this assumption should be checked
> for
> evidence of occurrence, but a respectable starting hypothesis would be
> that
> yes this design would be found in both instances.  It might not be, but
> it
> is much more reasonable to assume it would than it would not.  Generally
> speaking.
> >>>>
> I don't think this statement is based on anything more than assumption
> based upon personal experience with the relationship between motifs in
> clothing and architecture.  Lack of evidence against the existence of a
> design motif does not constitute proof for it.  This is like trying to
> prove a negative.  And it's bad scholarship.  I'd really like to know
> upon what grounds you are stating that this is "generally the case".  My
> experience wildly differs from that.  Is it perhaps generally the case
> in late 19th century art and architecture?  In the decorative techniques
> of the Aztecs?  In 10th century Japan?
>
> No proof means no proof.  The end.
>
> Perhaps the first thing that gets taught in fashion design courses isn't
> historically sound.
>
> Kass
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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----- Original Message -----
From: "Kass McGann
> I'm wondering if this writer even knew about pattens, clogs etc.  Anyone
>
> know when the high heels with the *toe on the ground* came in?
> >>>>
> Hi Edwina.
>
> I can tell you that there is an extant shoe from the 1650s or 60s in the
> V&A and it has a raised heel.  It's built like a modern mule: vamp,
> sole, no back.  There is a heel that is higher than the toe, but I doubt
> if it is more than 2" high.
>
> I don't know if there are any extant 16th century shoes.  Anyone?
>
> Kass


Greetings all!

I had a look at the Bata Shoe Museum's website, didn't find anything from
the 1500's. They may have some examples at the museum, they just don't have
it posted on their site.

They do however, have a few online examples of 17th C shoes:
 http://www.batashoemuseum.ca/collectindex.html

Hope this helps.

Sheridan



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 --- Sheridan & Shane <shooie@sprint.ca> wrote: > 

> > I don't know if there are any extant 16th century shoes.  Anyone?
> >
> > Kass

What about Queen Elizabeth's buskins in the Ashmolean? I took pictures of
those. There's another pretty white kid pair of heeled shoes in the same
museum, have photos too.

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

Email: nicole@kipar.org
URL: http://www.kipar.org

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Nicole:

Thanks for posting those pictures of your Amazon costumes! How fun! It looks
like you all had a wonderful time.

I have to say, the picture that struck me most was quite different ... I
loved the daytime outfit of the woman named Ulli, the one with the white
hood, especially in that shot of her standing in profile, with her apron on
and her hood completely covering her face. It looks so charming. I think
that's what I like most about seeing people in accurate historic costume --
you see something that you've seen before in paintings or drawings, and
suddenly you see it for real (or in a photo) from a different angle, and you
think: Wow! So THAT was the idea! You just understand the point of a garment
or an outfit or a whole overall look.

To me it's like dancing. I used to do a lot of historic dance, and there's
such a difference between hearing a dance tune and enjoying the melody, and
hearing a dance tune and knowing in your bones what it's for and how to
move.

Thus endeth my little lecture for today.

Gail Finke

 

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Subject: [h-cost] Wooden or Bone Busks?
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Anyone know where you can get wooden or bone busks?  Actually a plastic one
would probably do since it is a renfair corset.

 

Thanks

 

Sg

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 I'd really like to know upon what grounds you are stating that this is
"generally the case".  My
> experience wildly differs from that.  Is it perhaps generally the case
> in late 19th century art and architecture?  In the decorative techniques
> of the Aztecs?  In 10th century Japan?
>
the clothing of Some American Indians often reminds me of TeePee's :)
the sixties dress which was a take off of Mondoline's (or something like
that) painting looks quite a bit like Frank Llyod Wright's glasshouse of the
same era
the gothic fitted dress is slender and lean like gothic cathedrals
Australian aboriginal traditional garb is as sparce as their homes
Victorian parlors were as cluttered with bows and lace some of the dresses
seventies free flowing garments coinsided with the openspace living areas in
homes

I am only talking about a starting point for a design process.

Lisa Sinervo
www.ThrednedleStrete.com




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Date: Mon, 22 Sep 2003 12:55:02 -0700
Subject: Re: [h-cost] Wooden or Bone Busks?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Farthingale in Canada has them.  http://www.farthingales.on.ca/

Quick service, pleasant people. While looking at prices, please remember
they're in Canadian dollars, not USD.

Lynn
VERY satisfied customer


On 9/22/03 12:36 PM, "Saragrace T. Knauf" <saragrace@earthlink.net> wrote:

> Anyone know where you can get wooden or bone busks?  Actually a plastic one
> would probably do since it is a renfair corset.
> 
> 
> 
> Thanks
> 
> 
> 
> Sg
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Wooden or Bone Busks?
Date: Mon, 22 Sep 2003 12:58:05 -0700
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Hmm, I didn't find them in their catalogue.  I just found the metal ones
with studs for center front openings....I am just looking for the rounded
triangular ones.  Did I miss something?

Sg

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Lynn Downward
Sent: Monday, September 22, 2003 12:55 PM
To: h costume
Subject: Re: [h-cost] Wooden or Bone Busks?

Farthingale in Canada has them.  http://www.farthingales.on.ca/

Quick service, pleasant people. While looking at prices, please remember
they're in Canadian dollars, not USD.

Lynn
VERY satisfied customer


On 9/22/03 12:36 PM, "Saragrace T. Knauf" <saragrace@earthlink.net> wrote:

> Anyone know where you can get wooden or bone busks?  Actually a plastic
one
> would probably do since it is a renfair corset.
> 
> 
> 
> Thanks
> 
> 
> 
> Sg
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Kass McGann" <historian@reconstructinghistory.com>
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Grannd.com sells wooden busks.


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Saragrace T. Knauf
Sent: 22 September 2003 2:37 PM
To: h-costume@indra.com
Subject: [h-cost] Wooden or Bone Busks?

Anyone know where you can get wooden or bone busks?  Actually a plastic
one
would probably do since it is a renfair corset.

 

Thanks

 

Sg

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From: "Kass McGann" <historian@reconstructinghistory.com>
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Subject: RE: [h-cost] Knotwork
Date: Mon, 22 Sep 2003 15:02:38 -0500
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Lisa said:
<<I am only talking about a starting point for a design process.>>

I can certainly accept an architecturally-inspired starting point for a
design process, Lisa.  But when you are replicating a historic costume,
you're not really "designing" anything.  So we must only use that for
which we have proof or give up the idea of historicity altogether.

As I think I said earlier, you can do a great "Celtic design" costume.
But if you want to make a 16th century Scottish outfit, you cannot
embroider it with design you saw in an Irish 10th century manuscript.

See where I'm coming from?

Kass

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Date: Mon, 22 Sep 2003 13:08:24 -0700
Subject: Re: [h-cost] Wooden or Bone Busks?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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You're right.  I'm sorry for sending you bad information. They have all the
metal parts for corsetry but not the wooden (or plastic) busks.  For
everything else, they're spectacular.

LynnD

On 9/22/03 12:58 PM, "Saragrace T. Knauf" <saragrace@earthlink.net> wrote:

> Hmm, I didn't find them in their catalogue.  I just found the metal ones
> with studs for center front openings....I am just looking for the rounded
> triangular ones.  Did I miss something?
> 
> Sg
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Lynn Downward
> Sent: Monday, September 22, 2003 12:55 PM
> To: h costume
> Subject: Re: [h-cost] Wooden or Bone Busks?
> 
> Farthingale in Canada has them.  http://www.farthingales.on.ca/
> 
> Quick service, pleasant people. While looking at prices, please remember
> they're in Canadian dollars, not USD.
> 
> Lynn
> VERY satisfied customer
> 
> 
> On 9/22/03 12:36 PM, "Saragrace T. Knauf" <saragrace@earthlink.net> wrote:
> 
>> Anyone know where you can get wooden or bone busks?  Actually a plastic
> one
>> would probably do since it is a renfair corset.
>> 
>> 
>> 
>> Thanks
>> 
>> 
>> 
>> Sg
>> 
>> _______________________________________________
>> 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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From h-costume-bounces@indra.com  Mon Sep 22 16:10:31 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Wooden or Bone Busks?
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Voila:  http://www.grannd.com/busks.shtml#wood_busk
 Page down a bit.  The straight busks are first.  The triangular ones
are under them.

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Saragrace T. Knauf
Sent: 22 September 2003 2:58 PM
To: 'Historical Costume'
Subject: RE: [h-cost] Wooden or Bone Busks?

Hmm, I didn't find them in their catalogue.  I just found the metal ones
with studs for center front openings....I am just looking for the
rounded
triangular ones.  Did I miss something?

Sg

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
Behalf Of Lynn Downward
Sent: Monday, September 22, 2003 12:55 PM
To: h costume
Subject: Re: [h-cost] Wooden or Bone Busks?

Farthingale in Canada has them.  http://www.farthingales.on.ca/

Quick service, pleasant people. While looking at prices, please remember
they're in Canadian dollars, not USD.

Lynn
VERY satisfied customer


On 9/22/03 12:36 PM, "Saragrace T. Knauf" <saragrace@earthlink.net>
wrote:

> Anyone know where you can get wooden or bone busks?  Actually a
plastic
one
> would probably do since it is a renfair corset.
> 
> 
> 
> Thanks
> 
> 
> 
> Sg
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Triangular busks
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Here's a question--every extant busk I've seen, and every corset that has
a pocket for a busk, has shown the busk to be untapered--just a straight
length of material.  How did the triangular or tapered busk concept first
come into being?  I know when I started out in costuming, I for some
reason assumed this was how busks looked.

Drea


On Mon, 22 Sep 2003, Saragrace T. Knauf wrote:

> Hmm, I didn't find them in their catalogue.  I just found the metal ones
> with studs for center front openings....I am just looking for the rounded
> triangular ones.  Did I miss something?
>
> Sg
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Lynn Downward
> Sent: Monday, September 22, 2003 12:55 PM
> To: h costume
> Subject: Re: [h-cost] Wooden or Bone Busks?
>
> Farthingale in Canada has them.  http://www.farthingales.on.ca/
>
> Quick service, pleasant people. While looking at prices, please remember
> they're in Canadian dollars, not USD.
>
> Lynn
> VERY satisfied customer
>
>
> On 9/22/03 12:36 PM, "Saragrace T. Knauf" <saragrace@earthlink.net> wrote:
>
> > Anyone know where you can get wooden or bone busks?  Actually a plastic
> one
> > would probably do since it is a renfair corset.
> >
> >
> >
> > Thanks
> >
> >
> >
> > Sg
> >
> > _______________________________________________
> > 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
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Wooden or Bone Busks?
Date: Mon, 22 Sep 2003 13:20:17 -0700
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[Sg] Thanks for the lead...Sorry I can't help with the answer to Drea's
question though.


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From: Katy Bishop <vintage@shore.net>
To: Sarah <sarah@elizabethanlady.com>
Subject: Re: [h-cost] Help with Bustles
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A wonderful petticoat was up on ebay recently from the late 1870's:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2856139485&category=48864&rd=1

It's got some good detailed pictures.  I'm dying to make one like it.

Katy

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] Celtic knotwork
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I sit corrected, it looks like - I can't find that book on welsh garb 
for the life of me, and it may be outdated by now anyway.  As I said I 
was repeating someone else's comment on the knotwork on Henry 8's 
costume - more for a thought to bat around than as A Fact.

My apologies for misleading anyone - back to the books I go

Heather L

Heather Rose Jones wrote:

> At 2:43 PM -0500 9/20/03, H. Law wrote:
>
>> Don't remember who, but someone said the Celtic knotwork in the Henry 
>> 8 portrait was probably a conscious thing connected with henry's 
>> welsh ancestry.  I've never seen "Celtic Knotwork" on pre-Henry  
>> celtic/gaelic garb before, but some Norse stuff had similar work. 
>> often animal-interlace. (Those cute little eely things in the book of 
>> kells are a great -*legitimate*- excuse for the really intense 
>> knotwork - just stick a little head on one end, taper off the other 
>> one for a tail and away you go!:-P )
>
>
>
> I know I'm coming in a little late on this one, but I'll add my voice 
> to those who note that it can be badly misleading to think of _all_ 
> interlace/strapwork-type motifs as "Celtic knotwork".  Even during the 
> heyday of early medieval Irish manuscript art, interlace designs -- 
> whether zoomorphic or not -- were not at all confined to 
> Celtic-speaking regions.  And  there seems no reason to connect late 
> medieval/renaissance strapwork designs -- whether in Britain or the 
> Mediterranean region -- with the artistic context of the early Irish 
> manuscripts.
>
> Here's a question:  _Why_ would it be reasonable to think that Henry 
> VIII would consider using strapwork/interlace as an expression of his 
> Welsh ancestry?  I know of no reason to believe that a late medieval 
> Welsh person would consider such motifs to be peculiarly associated 
> with his culture or to be an expression of it.  The expansion of early 
> insular manuscript art to being an icon of "Celticity" is a modern 
> phenomenon.
>
>
>> There is also the Spanish-Moorish textiles where the interlace motif 
>> is allovertheplace.  The Book of Kells-type stuff is thought to have 
>> arrived through traveling early-xtian monks who had access to Coptic 
>> manuscripts in Egypt, where the moorish and african influence on 
>> design was strong.
>
>
>
> To the best of my knowledge, any theories about Egyptian origins of 
> early Insular manuscript styles are not widely accepted in the Celtic 
> academic community.  Since there's a reasonable continuity of style 
> from pre-Christian artwork (e.g., in metal) of the La Tene style up 
> through the Irish manuscript art of the early medieval period, I'm not 
> sure why there would be a need to look as far afield as Egypt for an 
> explanation of those artistic styles.
>
>
>> If you're looking for interlace designs on clothes, try a Nordic 
>> influence, or someone who has travelled to Spain. (Spain would also 
>> open up allover designs for you to use.)
>> There is, or was, a publication by someone in SCA (actually several 
>> of them!) that showed some embroidery from Welsh garb;
>
>
> As far as I'm aware (and I pay attention to things like this), there 
> is only one (1) surviving example of embroidery from medieval Wales -- 
> a 10th century piece in silk on linen (although it survived in 
> completely carbonized form) whose strongest artistic connections seem 
> to be with imported silks from the East, involving stylized "lions", 
> and birds enclosed in hexagonal frames of vegetation.  No real 
> resemblance to local vernacular art at all.  If you're aware of some 
> other surviving pieces of medieval Welsh embroidery, I'd desperately 
> like to have leads on them.
>
> Heather


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Subject: Re: [h-cost] Triangular busks
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On Monday, September 22, 2003, at 01:09  PM, Drea Leed wrote:

> Here's a question--every extant busk I've seen, and every corset that 
> has
> a pocket for a busk, has shown the busk to be untapered--just a 
> straight
> length of material.  How did the triangular or tapered busk concept 
> first
> come into being?  I know when I started out in costuming, I for some
> reason assumed this was how busks looked.

Isn't that a Winter & Savoy-ism?  My copy has gone AWOL, but I seem to 
remember seeing a drawing depicting a triangular shaped busk in the 
corset section.  As with the majority of that book, I have no idea 
where they got the idea from... :P

Sarah
http://www.elizabethanlady.com

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I am looking for a company that prints words on ribbon, in rather large
quantities but not retail quantities. Has anyone ever dealt with a company
they recommend?

Gail Finke


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From h-costume-bounces@indra.com  Mon Sep 22 19:31:21 2003
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Subject: Re: [h-cost] Triangular busks
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>
>> Here's a question--every extant busk I've seen, and every corset that 
>> has
>> a pocket for a busk, has shown the busk to be untapered--just a 
>> straight
>> length of material.  How did the triangular or tapered busk concept 
>> first
>> come into being?  I know when I started out in costuming, I for some
>> reason assumed this was how busks looked.
>
> Isn't that a Winter & Savoy-ism?  My copy has gone AWOL, but I seem to 
> remember seeing a drawing depicting a triangular shaped busk in the 
> corset section.  As with the majority of that book, I have no idea 
> where they got the idea from... :P

I was tooling through the Lacis online catalog and came across a 
slightly triangular shaped wooden busk (anyone still looking for a 
wooden one, btw?  Check out 
http://www.lacis.com/catalog/data/descn_s.html#costume).

It's odd, but other than Lacis and possibly W&S, I can't remember 
seeing any triangular busks about.  Anyone else?

Sarah
http://www.elizabethanlady.com

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Date: Mon, 22 Sep 2003 16:35:19 -0700
Subject: Re: [h-cost] Re: source needed
From: Lynn Downward <LDownward@chori.org>
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I've never done this myself, but I've been to many weddings where the names
of the bride/groom and wedding date were printed on ribbon.  Could you check
where invitations are printed?
LynnD
Hoping this is better info than I had earlier.

On 9/22/03 4:16 PM, "Gail & Scott Finke" <gailscott@eos.net> wrote:

> 
> I am looking for a company that prints words on ribbon, in rather large
> quantities but not retail quantities. Has anyone ever dealt with a company
> they recommend?
> 
> Gail Finke
> 
> 
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Hum...  Will it work if *I* do it?  I live in Illinois...

Edwinna/Heather L
(sorry about name-switch, I'm in SCA too)

Allison wrote:

>> I wonder about writing an op-ed letter of our own, asking if the writer
>> of this thing has doc, We'd Be Very Interested To Know
>
> Do it, Edwinna!  If you'll write it, I'll be among those who sign it.  
> As one of those who are "Interested To Know" I prefer FACTS in my 
> newspaper "articles" - I can find plenty of pop culture trivia and/or 
> speculation in magazines.
> Allison P.
>
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Gail & Scott Finke wrote:
> I am looking for a company that prints words on ribbon, in rather large
> quantities but not retail quantities. Has anyone ever dealt with a company
> they recommend?

Look for companies that do logo/promotional items (mugs, keychains, etc) 
-- they often have ribbons (yardage) of various qualities as one of the 
customizeable things.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: "Linda Rice" <vmaa2@cox.net>
To: <aotc@yahoogroups.com>, <vmaa@yahoogroups.com>, <h-costume@indra.com>
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Subject: [h-cost] Funeral Shield of HenryV
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If you can get there, check this out:

"Among the medieval treasures of gold, silver, ivory and gems being heaped up
for a major exhibition on Gothic art at the V&A Museum is a scruffy object
which would not attract attention at a car boot sale. 

"the reverse of the shield....is covered with some of the oldest Chinese silk
in Europe, of imperial quality, which was already antique when the shield was
made. V&A experts believe the silk may have been part of a consignment of
astounding quality, which presumably came into northern Europe from
Tartar-ruled China along the ancient Silk Road, in the early 14th century - at
a time when historians had believed the direct trade link was broken." 

http://www.guardian.co.uk/arts/news/story/0,11711,1046836,00.html

::Linda::


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Knotwork
Date: Mon, 22 Sep 2003 20:46:59 -0400
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On Monday 22 September 2003 09:15 am, Catalina Sanabria Rosado wrote:
> In the case of knot-work, there are enough surviving
> pieces of leather, belt buckles, brooches, scabbards
> and horse harness with knot-work decoration that we
> are probably safe in saying that Celtic types used
> knot-work on their garments as well. At least up until
> the 11th century. Evidence after that gets iffy. Dr.
> Anne Ross's books give plenty of documentation on the
> archaeological evidence.

Really?  I never heard that before.  I'll have to look Dr. Ross up.  Thanks.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <001001c38039$c1a36cf0$856453d8@Kass>
Subject: Re: [h-cost] da Vinci shoe article - NYTimes
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Kass wrote:
>
> I don't know if there are any extant 16th century shoes.  Anyone?
>
The Abbey Museum of Art and Archaeology in Australia has a shoe from Mary
Queen of Scots, late 16th century.  see www.thrednedlestrete.com/extant.htm
.  A low heel and VERY small, like a modern US size 4 would be my guess.  I
see quite a few 16th century leather possible turnsole shoes on the
antiquities market, but not much else.

Lisa Sinervo


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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Triangular busks
Date: Mon, 22 Sep 2003 18:48:08 -0700
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Oh yes, and that is a good price...Thanks  I'd forgotten that they sold
corsetry stuffs.  And Grand Garb has them as well.

__________________________

I was tooling through the Lacis online catalog and came across a 
slightly triangular shaped wooden busk (anyone still looking for a 
wooden one, btw?  Check out 
http://www.lacis.com/catalog/data/descn_s.html#costume).

It's odd, but other than Lacis and possibly W&S, I can't remember 
seeing any triangular busks about.  Anyone else?

Sarah
http://www.elizabethanlady.com

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From h-costume-bounces@indra.com  Mon Sep 22 21:54:00 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] da Vinci shoe article - NYTimes
Date: Mon, 22 Sep 2003 21:53:13 -0400
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The Abbey Museum of Art and Archaeology in Australia has a shoe from
Mary
Queen of Scots, late 16th century.  see
www.thrednedlestrete.com/extant.htm.  A low heel and VERY small, like a
modern US size 4 would be my guess.  I
see quite a few 16th century leather possible turnsole shoes on the
antiquities market, but not much else.
>>>>
Thanks for the info, Lisa.  I really appreciate the edification.

Kass

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----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
> The Abbey Museum of Art and Archaeology in Australia has a shoe from Mary
> Queen of Scots, late 16th century.  see
www.thrednedlestrete.com/extant.htm
> .  A low heel and VERY small, like a modern US size 4 would be my guess.

Well, a US size 4 is not that small, I'm 5'3" and I wear a size 5. My mom is
5'2" and wears a size 4. And weren't people "back then" supposed to be
slightly smaller than us?
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From h-costume-bounces@indra.com  Mon Sep 22 22:31:14 2003
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From: "Christine Bonder" <ckbonder@earthlink.net>
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Subject: RE: [h-cost] Wooden or Bone Busks?
Date: Mon, 22 Sep 2003 22:27:04 -0400
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I got my wooden busk from Grannd Garb (www.grannd.com...I think.) I like it
a lot.

Christine Bonder
Dayton, OH

>^..^< - proudly owned by cats since 1993


> [Original Message]
> From: Saragrace T. Knauf <saragrace@earthlink.net>
> To: <h-costume@indra.com>
> Date: 9/22/03 3:36:43 PM
> Subject: [h-cost] Wooden or Bone Busks?
>
> Anyone know where you can get wooden or bone busks?  Actually a plastic
one
> would probably do since it is a renfair corset.
>
>  
>
> Thanks
>
>  
>
> Sg
>
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Subject: Re: [h-cost] da Vinci shoe article - NYTimes
Date: Mon, 22 Sep 2003 19:35:07 -0700
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it's all perspective.  I wear a 10, remember poerfect catwalk feet if I only
had four toes!!!


----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 22, 2003 7:03 PM
Subject: Re: [h-cost] da Vinci shoe article - NYTimes


> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
> > The Abbey Museum of Art and Archaeology in Australia has a shoe from
Mary
> > Queen of Scots, late 16th century.  see
> www.thrednedlestrete.com/extant.htm
> > .  A low heel and VERY small, like a modern US size 4 would be my guess.
>
> Well, a US size 4 is not that small, I'm 5'3" and I wear a size 5. My mom
is
> 5'2" and wears a size 4. And weren't people "back then" supposed to be
> slightly smaller than us?
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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it's all perspective.  I wear a 10, remember perfect catwalk feet if I only
had four toes!!!


----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 22, 2003 7:03 PM
Subject: Re: [h-cost] da Vinci shoe article - NYTimes


> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
> > The Abbey Museum of Art and Archaeology in Australia has a shoe from
Mary
> > Queen of Scots, late 16th century.  see
> www.thrednedlestrete.com/extant.htm
> > .  A low heel and VERY small, like a modern US size 4 would be my guess.
>
> Well, a US size 4 is not that small, I'm 5'3" and I wear a size 5. My mom
is
> 5'2" and wears a size 4. And weren't people "back then" supposed to be
> slightly smaller than us?
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



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Notice, though, that the straight busks are labeled for use in 1700 and
1800 era corsets, and the tapered ones are for "use with Elizabethan and
Tudor era corsets."  So they're tuned in to the same
(mis?)information....
hmmm....curiouser and curiouser, as Alice would say....
--sue

Kass McGann wrote:
> 
> Voila:  http://www.grannd.com/busks.shtml#wood_busk
>  Page down a bit.  The straight busks are first.  The triangular ones
> are under them.
> 
> Kass
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Saragrace T. Knauf
> Sent: 22 September 2003 2:58 PM
> To: 'Historical Costume'
> Subject: RE: [h-cost] Wooden or Bone Busks?
> 
> Hmm, I didn't find them in their catalogue.  I just found the metal ones
> with studs for center front openings....I am just looking for the
> rounded
> triangular ones.  Did I miss something?
> 
> Sg
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On
> Behalf Of Lynn Downward
> Sent: Monday, September 22, 2003 12:55 PM
> To: h costume
> Subject: Re: [h-cost] Wooden or Bone Busks?
> 
> Farthingale in Canada has them.  http://www.farthingales.on.ca/
> 
> Quick service, pleasant people. While looking at prices, please remember
> they're in Canadian dollars, not USD.
> 
> Lynn
> VERY satisfied customer
> 
> On 9/22/03 12:36 PM, "Saragrace T. Knauf" <saragrace@earthlink.net>
> wrote:
> 
> > Anyone know where you can get wooden or bone busks?  Actually a
> plastic
> one
> > would probably do since it is a renfair corset.
> >
> >
> >
> > Thanks
> >
> >
> >
> > Sg
> >
> > _______________________________________________
> > 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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From h-costume-bounces@indra.com  Mon Sep 22 22:46:30 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Wooden or Bone Busks?
Date: Mon, 22 Sep 2003 22:45:46 -0400
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Yup.  But I bet she'll change that if we give her good information to
the contrary.  =)

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Sue Clemenger
Sent: 22 September 2003 10:36 PM
To: Historical Costume
Subject: Re: [h-cost] Wooden or Bone Busks?

Notice, though, that the straight busks are labeled for use in 1700 and
1800 era corsets, and the tapered ones are for "use with Elizabethan and
Tudor era corsets."  So they're tuned in to the same
(mis?)information....
hmmm....curiouser and curiouser, as Alice would say....
--sue

Kass McGann wrote:
> 
> Voila:  http://www.grannd.com/busks.shtml#wood_busk
>  Page down a bit.  The straight busks are first.  The triangular ones
> are under them.
> 
> Kass
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Saragrace T. Knauf
> Sent: 22 September 2003 2:58 PM
> To: 'Historical Costume'
> Subject: RE: [h-cost] Wooden or Bone Busks?
> 
> Hmm, I didn't find them in their catalogue.  I just found the metal
ones
> with studs for center front openings....I am just looking for the
> rounded
> triangular ones.  Did I miss something?
> 
> Sg
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On
> Behalf Of Lynn Downward
> Sent: Monday, September 22, 2003 12:55 PM
> To: h costume
> Subject: Re: [h-cost] Wooden or Bone Busks?
> 
> Farthingale in Canada has them.  http://www.farthingales.on.ca/
> 
> Quick service, pleasant people. While looking at prices, please
remember
> they're in Canadian dollars, not USD.
> 
> Lynn
> VERY satisfied customer
> 
> On 9/22/03 12:36 PM, "Saragrace T. Knauf" <saragrace@earthlink.net>
> wrote:
> 
> > Anyone know where you can get wooden or bone busks?  Actually a
> plastic
> one
> > would probably do since it is a renfair corset.
> >
> >
> >
> > Thanks
> >
> >
> >
> > Sg
> >
> > _______________________________________________
> > 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 h-costume-bounces@indra.com  Mon Sep 22 23:19:33 2003
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Subject: Re: [h-cost] Celtic knotwork
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At 4:35 PM -0500 9/22/03, H. Law wrote:
>I sit corrected, it looks like - I can't find that book on welsh 
>garb for the life of me, and it may be outdated by now anyway.

If you turn it up, I'd love to know -- although it's possible that 
you're thinking of my own publication "Medieval Welsh Clothing to 
1300".

Heather
-- 
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Subject: RE: [h-cost] Knotwork
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At 9:30 AM -0400 9/22/03, Kass McGann wrote:
>In the case of knot-work, there are enough surviving
>pieces of leather, belt buckles, brooches, scabbards
>and horse harness with knot-work decoration that we
>are probably safe in saying that Celtic types used
>knot-work on their garments as well. At least up until
>the 11th century. Evidence after that gets iffy. Dr.
>Anne Ross's books give plenty of documentation on the
>archaeological evidence.
>>>>>
>No.  We aren't.  Not unless there are surviving sample on clothing.
>This is exactly what Robin and Heather and I are talking about -- the
>presumption that leather, metal and stone decorative techniques equate
>to embroidery or other cloth embellishment techniques.  You simply
>cannot make that leap with any certainty.

And note that there's a continuum of un/certainty for extrapolations, 
starting out from "don't have an actual example but if one turned up 
tomorrow I wouldn't even blink an eye" to "would be quite interesting 
if an example turned up but it wouldn't require me to do major 
revisions of my understanding of the topic" to "plausible, but not 
particularly predictable from current knowledge" to "not at all 
predictable from current knowledge -- would revolutionize the field" 
to "so seriously in contradiction with our understanding of how the 
world works that all possible alternate explanations should be 
explored first".

Extrapolations from one medium to another need to be considered in 
the larger artistic context and known connections between different 
crafts.  For example, if you look at the heyday of Opus Anglicanum 
embroidery, it becomes clear that the motifs  and styles used in 
embroidery have a strong overlap with the motifs and styles found in 
manuscript art.  Once you've established and explored that, you can 
figure out how plausible it is to develop new Opus Anglicanum 
patterns based on manuscript art.

To take a different example -- one I taught a class on this past 
weekend -- consider the embroideries found in the 10th c. Danish 
grave at Mammen.  Metalwork finds in the same grave have such a 
characteristic ornamentation style that they gave their name to that 
set of motifs ... but this "Mammen artistic style" has next to no 
overlap with the motifs found in the embroidery.  Instead, the 
embroidery motifs show echoes of textiles from Germany and England, 
or relatively universal European motifs such as acanthus scrolls. 
So, while it's hard to develop a theory of "Viking embroidery" based 
on the material from a single grave (and likely from a single 
garment), this one piece of evidence suggests that 10th c. Danish 
embroiderers were modeling their work after foreign textiles rather 
than local metalwork.  So given this fragment of evidence, the 
closest place from which to extrapolate other plausible 10th c. 
Danish embroidery designs would be contemporary textiles available in 
that part of Europe.

And to take yet another example, if you look at the motifs used in 
Coptic textiles (both the very common tapestry-woven decorations and 
the much rarer embroidered ones), you do find a stylistic continuity 
with architectural decoration -- and especially with mosaic designs. 
(There are a few examples where a textile can be matched with a 
particular surviving mosaic, suggesting that they may both have been 
worked from common pattern-books.)  So having established this 
pattern, a confident source of extrapolation for other Coptic textile 
decorations could be contemporary mosaic designs.

In each case, the culture involved has other styles and schools of 
decorative art available, but ones that don't have an established 
connection with embroidery motifs are further away on the confidence 
scale.  That's not to say that they would be impossible or even 
implausible sources of extrapolation -- simply that they're further 
away and the level of confidence is less.

We aren't saying that it would be _impossible_ that early medieval 
Irish embroidery might have shared a stylistic vocabulary with 
metalwork or leatherwork -- simply that without an actual established 
connection the level of confidence isn't very high.

On a personal level, given the connections between embroidery and 
manuscript art in high-medieval England (and even pushing 
early-medieval if you take a look at the Maaseik (sp?) embroidery), I 
would consider insular manuscript art (used cautiously) to be a 
reasonable place to look for inspiration for early-medieval Irish 
embroidery.  But it's about two conceptual steps removed from the 
current evidence.  (And considering that the 10th c. Llangors 
embroidery appears to look quite far afield for its inspiration, it 
could be a wrong guess.)  The important thing is to be conscious of 
the amount of extrapolation involved and not to mistake "plausible" 
for "probable".

Heather
*****
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Subject: Re: [h-cost] Shoulderroll question
Date: Mon, 22 Sep 2003 23:58:18 -0500
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Deredere,

The unknown girl portrait
(http://costume.dm.net/gallery/images/orangegirl.jpg) with shoulder rolls is
dated to 1569. I don't know if that's the one you're using, but I hope it
helps. I've made shoulder rolls using the Hunnisett (sp?) pattern and I love
them. I have a light layer of veil net inside of mine. They stand up based
on how much you fold them on your shoulder. The netting just helps the silk
(or whatever else you're using for the puffy fabric part) to stand up. You
can see a picture of my rolls at
http://4th.com/photo.php?dir=sca/justin/photos/2003&prefix=coronation-20030920&cols=4&count=24&start=73
(I'm at the bottom of the page with my back turned) and
http://4th.com/photo.php?dir=sca/justin/photos/2003&prefix=coronation-20030920&cols=4&count=24&start=97
(I'm at the top of the page).

Harlie

------------------------------------------------------------------
Lady Sarafina Sinclair, CW, APF
http://ladysarafina.home.att.net


> By the way does anyone knows the date of the portrait I am "recreating"?
>
> Greetings,
>         Deredere
/h-costume

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Subject: Re: [h-cost] Wooden or Bone Busks?
Date: Tue, 23 Sep 2003 06:42:49 +0100
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If you have a picture of what you are after I can probably do one

Mel

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Subject: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article 
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Well, that just does not look like a late 16th century shoe to me, more 
like an 18th century shoe.  Could this be mislabeled somewhere along the 
line?

I'd love some input on this shoe and its attribution!!!

Thanks,

Theresa Eacker

Kass McGann wrote:
> The Abbey Museum of Art and Archaeology in Australia has a shoe from
> Mary
> Queen of Scots, late 16th century.  see
> www.thrednedlestrete.com/extant.htm.  A low heel and VERY small, like a
> modern US size 4 would be my guess.  I
> see quite a few 16th century leather possible turnsole shoes on the
> antiquities market, but not much else.
> 
> Thanks for the info, Lisa.  I really appreciate the edification.
> 
> Kass
> 
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From: Sue Clemenger <mooncat@in-tch.com>
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Oh, probably, but it makes me even more curious as to where the info
(incorrect or not) came from....Like someone else who posted earlier
today (oops, yesterday...I'm up late tonight!), the only tapered busk I
can recall seeing is in an illustration from Winter and Savoy.  Thinking
early corset/bodies, here, nothing 19th centuryish, which I don't really
know well.
--sue ;o)

Kass McGann wrote:
> 
> Yup.  But I bet she'll change that if we give her good information to
> the contrary.  =)
> 
> Kass
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Sue Clemenger
> Sent: 22 September 2003 10:36 PM
> To: Historical Costume
> Subject: Re: [h-cost] Wooden or Bone Busks?
> 
> Notice, though, that the straight busks are labeled for use in 1700 and
> 1800 era corsets, and the tapered ones are for "use with Elizabethan and
> Tudor era corsets."  So they're tuned in to the same
> (mis?)information....
> hmmm....curiouser and curiouser, as Alice would say....
> --sue
> 
> Kass McGann wrote:
> >
> > Voila:  http://www.grannd.com/busks.shtml#wood_busk
> >  Page down a bit.  The straight busks are first.  The triangular ones
> > are under them.
> >
> > Kass
> >
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> > On Behalf Of Saragrace T. Knauf
> > Sent: 22 September 2003 2:58 PM
> > To: 'Historical Costume'
> > Subject: RE: [h-cost] Wooden or Bone Busks?
> >
> > Hmm, I didn't find them in their catalogue.  I just found the metal
> ones
> > with studs for center front openings....I am just looking for the
> > rounded
> > triangular ones.  Did I miss something?
> >
> > Sg
> >
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> > On
> > Behalf Of Lynn Downward
> > Sent: Monday, September 22, 2003 12:55 PM
> > To: h costume
> > Subject: Re: [h-cost] Wooden or Bone Busks?
> >
> > Farthingale in Canada has them.  http://www.farthingales.on.ca/
> >
> > Quick service, pleasant people. While looking at prices, please
> remember
> > they're in Canadian dollars, not USD.
> >
> > Lynn
> > VERY satisfied customer
> >
> > On 9/22/03 12:36 PM, "Saragrace T. Knauf" <saragrace@earthlink.net>
> > wrote:
> >
> > > Anyone know where you can get wooden or bone busks?  Actually a
> > plastic
> > one
> > > would probably do since it is a renfair corset.
> > >
> > >
> > >
> > > Thanks
> > >
> > >
> > >
> > > Sg
> > >
> > > _______________________________________________
> > > 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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> > h-costume@mail.indra.com
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> _______________________________________________
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Subject: Re: [h-cost] Wooden or Bone Busks?
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On Monday, September 22, 2003, at 11:09  PM, Sue Clemenger wrote:

> Oh, probably, but it makes me even more curious as to where the info
> (incorrect or not) came from....Like someone else who posted earlier
> today (oops, yesterday...I'm up late tonight!), the only tapered busk I
> can recall seeing is in an illustration from Winter and Savoy.  
> Thinking
> early corset/bodies, here, nothing 19th centuryish, which I don't 
> really
> know well.

I'd look in Norris first.  A lot of the stuff in Winter & Savoy turns 
up in various incarnations in Norris' Tudor Fashions book.  I thumb 
through it tonight and see if I can find anything... Of course, if it 
does get tracked back to Norris, there's absolutely no telling where he 
got it from.  He's miserable at citing sources.

Sarah
http://www.elizabethanlady.com

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I don't actually *have* a copy of Norris (laughing).
I'll look forward to seeing what you come up with, though.
It makes me wonder if it's not another of those Ubiquitous Costume
Legends (tm) like the drawstringed/gathered sleeves on modern leine.....
--sue

Sarah wrote:
> 
> On Monday, September 22, 2003, at 11:09  PM, Sue Clemenger wrote:
> 
> > Oh, probably, but it makes me even more curious as to where the info
> > (incorrect or not) came from....Like someone else who posted earlier
> > today (oops, yesterday...I'm up late tonight!), the only tapered busk I
> > can recall seeing is in an illustration from Winter and Savoy.
> > Thinking
> > early corset/bodies, here, nothing 19th centuryish, which I don't
> > really
> > know well.
> 
> I'd look in Norris first.  A lot of the stuff in Winter & Savoy turns
> up in various incarnations in Norris' Tudor Fashions book.  I thumb
> through it tonight and see if I can find anything... Of course, if it
> does get tracked back to Norris, there's absolutely no telling where he
> got it from.  He's miserable at citing sources.
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From: kat@grendal.rain.com
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Date: Mon, 22 Sep 2003 23:44:07 -0700
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> From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
> > The Abbey Museum of Art and Archaeology in Australia has a shoe from
> > Mary Queen of Scots, late 16th century.  see
> www.thrednedlestrete.com/extant.htm
> > .  A low heel and VERY small, like a modern US size 4 would be my
> > guess.
> 
> Well, a US size 4 is not that small, I'm 5'3" and I wear a size 5. My
> mom is 5'2" and wears a size 4. And weren't people "back then"
> supposed to be slightly smaller than us?

In the 16th C (at least in London according to _London Bodies_) the 
average height for women was 5'2 1/4" (158cm). In 1998 it was 5'3 
3/4" (162cm). Frankly, that's not much of a difference.

Most people assume that people "back then" were much smaller because 
the average during the Victorian age was 5'1 1/4" (156 cm).

Just for the comparison: the average height for men was 5'7 1/2"/ 
172cm, during the Victorian age 5'5 1/2"/ 166cm, and in 1998 5'9"/ 
175. 

Many people think that people further back were even smaller, but the 
Victorians were the smallest people from any time period studied so 
far.

As to a size 4 shoe being small, most women in the US wear about a 7 
1/2-8. The usual low size for most shoe stores is 6-6 1/2 (with those 
being smaller considered "specialized"). So, while you may consider 
yourself to be "not that small", you are. I wear a size 6 1/2 and 
most people consider that *that* to be fairly small. So, I suspect 
that most people would consider a size 4 to be "very small."

Current US average height for women is about 5'6". When I was in high 
school it was about 5'4". If it is anything like the men, it may top 
out where it is or it may (like the men seem to be doing) decline a 
bit.

Kat
<kat@redtrollforge.com>


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> Here's a question--every extant busk I've seen, and every corset that
> has a pocket for a busk, has shown the busk to be untapered--just a
> straight length of material.  How did the triangular or tapered busk
> concept first come into being?  I know when I started out in
> costuming, I for some reason assumed this was how busks looked.

Tapered how? I've always seen them as basically an ivory, bone or 
wood (and whalebone in period) in the shape of a ruler with the tip 
tapered to fit into the point of the corset and the top slightly 
rounded with a hole in it for the busk lace. That's what the 
Pfalzgrafin Dorothea Sabina corset looked like it might have had at 
one time.

I'd like to know where people have evidence for busk knives. ;)

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Wooden or Bone Busks?
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On Monday, September 22, 2003, at 11:24  PM, Sue Clemenger wrote:

> I don't actually *have* a copy of Norris (laughing).
> I'll look forward to seeing what you come up with, though.
> It makes me wonder if it's not another of those Ubiquitous Costume
> Legends (tm) like the drawstringed/gathered sleeves on modern 
> leine.....
> --sue

Well, this is what I did find in Norris, sans any kind of 
documentation, of course:

"A less expensive contrivance was a broad slightly convex piece of wood 
which was used by the middle-class women to keep their busts flat , and 
make their figures straight and erect." --p. 623

Sounds more like the tongue depressor version of the busk than 
anything...  Hmm.

Sarah

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Subject: Re: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article 
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I agree, it does look to be a much later shoe.  I'll write to the museum and
get some more details.  I do know that H.M. Queen Mary donated a number of
items to the museum when it was the Abbey Folk Park in New Barnet, UK. and
it received donations from many other collectors of antiquities as well.
I'll get back to you.

Lisa Sinervo
www.Thrednedlestrete.com



----- Original Message -----
From: "Theresa Eacker" <theresa@misc.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 22, 2003 11:00 PM
Subject: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article


> Well, that just does not look like a late 16th century shoe to me, more
> like an 18th century shoe.  Could this be mislabeled somewhere along the
> line?
>
> I'd love some input on this shoe and its attribution!!!
>
> Thanks,
>
> Theresa Eacker
>



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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Kass wrote:

>This is exactly what Robin and Heather and I are talking about -- the
>presumption that leather, metal and stone decorative techniques
equate
>to embroidery or other cloth embellishment techniques.  You simply
>cannot make that leap with any certainty.

Quite so. There are specific areas where one may, perhaps,  trace a
very hesitant path from jewels to embroidery; Byzantium being the
place I have in mind. The physical necessity of setting a gemstone
requires ways of holding it down and secure, and one of the ways used
very often on square or rectangular stones was a semicircular wire
loop over the end of the stone. If you have 4 such stones meeting then
the 4 loops create a rosette, and sure enough there appear to be
rosettes galore in Byzantine embroidery.

But.....

The distinction between jewels and clothing, so easily made in the
21st century in Europe, America, Australasia et al, is not an eternal
truth. And Byzantium , of all places, had the most superb silks
heavily encrusted with precious and semiprecious stones, pearls, gold,
silver and anything else which looked good. It might not be
embroidered rosettes; it might well be stones attached using wire
loops, looking like rosettes. And, of course, rosettes turn up all
over the place; far beyond Byzantium. And the incautious might look at
them with happy cries of "Oh, Byzantine influence" without pausing to
ask themselves whether this may be a form which crops up as a
consequence of a practical method of setting stones onto cloth,
leather, gold, whatever. Or simply because someone was making shapes
in their mind and thought this one looked good, or was studying
geometry and noted that circles and ovals could be combined with
intriguing results, or indeed a myriad other possible explanations....

best wishes
Stevie

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Actually, I've just had a looks at the hoes in QEWU and it is very similar
in shape to the leather sue found on page 213 dated c.1600.  I'll still
check though and get back to you.

Lisa


----- Original Message -----
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, September 23, 2003 3:22 AM
Subject: Re: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article


> I agree, it does look to be a much later shoe.  I'll write to the museum
and
> get some more details.  I do know that H.M. Queen Mary donated a number of
> items to the museum when it was the Abbey Folk Park in New Barnet, UK. and
> it received donations from many other collectors of antiquities as well.
> I'll get back to you.
>
> Lisa Sinervo
> www.Thrednedlestrete.com
>
>
>
> ----- Original Message -----
> From: "Theresa Eacker" <theresa@misc.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, September 22, 2003 11:00 PM
> Subject: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article
>
>
> > Well, that just does not look like a late 16th century shoe to me, more
> > like an 18th century shoe.  Could this be mislabeled somewhere along the
> > line?
> >
> > I'd love some input on this shoe and its attribution!!!
> >
> > Thanks,
> >
> > Theresa Eacker
> >
>
>
>
> _______________________________________________
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Triangular busks
Date: Tue, 23 Sep 2003 07:34:35 -0400
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I'd like to know where people have evidence for busk knives. ;)
>>>>
Don't you mean "bodice daggers", Kat?  <WINK>

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] da Vinci shoe article - NYTimes
Date: Tue, 23 Sep 2003 07:42:27 -0400
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Most people assume that people "back then" were much smaller because 
the average during the Victorian age was 5'1 1/4" (156 cm).
>>>>
Hi Kat!

I just have to tell a funny story.  When I was in Ireland a couple years
ago, I was studying Irish in this town that had a "folk village".  This
folk village was a bunch of huts constructed in the 1950s with the
intent to preserve local material culture.  The truth of the matter is
that they weren't preserving much of anything at all but 1950-era
misperceptions about Irish history.  But I digress.

We were there, so we decided to take the tour.  The tour was conducted
by a sleepy 18-year old who rambled through her schpeel like she
couldn't be bothered.  And when she got to the size of beds and doorway
and ceiling height, she announced that the average height in 1900
Ireland was 4'7" tall.

My friends and I almost fell over laughing.  But I swear we were trying
to be polite.

Bad info to use door and ceiling height (low to retain heat) and bed
size (short but broad) to determine people's height, isn't it.  By the
way, my Irish-born grandfather (born in 1896) was 6'6".  =)

This story brought to you by the misconception shatterers.  Thank you
for your time.  =)

Kass

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In a message dated 9/23/2003 1:17:35 AM Central Standard Time, 
sarah@elizabethanlady.com writes:
I'd look in Norris first.  A lot of the stuff in Winter & Savoy turns 
up in various incarnations in Norris' Tudor Fashions book.  I thumb 
through it tonight and see if I can find anything... Of course, if it 
does get tracked back to Norris, there's absolutely no telling where he 
got it from.  He's miserable at citing sources.
But he sure makes a great book to page through on the potty... (my copy sits 
on the back of the toilet)

-Sarra Wryght
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Perhaps I associate with another crowd of people than some of you on the
list here so I am less inclined to be "annoyed" by the "mistakes" of
others.
>>>>
Lisa, perhaps you are mistaking my desire to prevent new people from
making mistakes as annoyance with them.  I assure you that nothing could
be further from the truth.  In my time in reenactment circles, I have
seen many former "newbies" say, "Why didn't anyone tell me this was
wrong?!  Why did they let me wear this and make a fool out of myself?"
My comments are to help people avoid those situations.  Making them
learn the process from scratch isn't growth, it's deliberately
withholding information.  And I can't do that to a new person.  Or an
old person.  Or anyone.

Embroidery takes a lot of time and effort.  I shudder to see someone who
desires to make a historic garment waste their time on something they
will eventually find is not accurate to the period.

Kass

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>>> Lisa-list@threadneedlest.com 09/23/03 11:22am >>> wrote:

>I agree, it does look to be a much later shoe.  I'll write to the
museum and
>get some more details.

I don't claim to be an expert, but it looked like an 18th century shoe
to me too.

>  I do know that H.M. Queen Mary donated a number of items to the
>museum when it was the Abbey Folk Park in New Barnet, UK. 

I was wondering how it had got to Australia!

I was interested to learn that, at 5'2", I'm not much below the average
size for British women. My shoe size is 5, which used to be the
commonest, but I believe that is now size 6.


Kate Bunting
Library, University of Derby
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Kat <kat@grendal.rain.com> responded to Lisa Sinervo:

> > My mom is 5'2" and wears a size 4.

And she finds shoes outside of specialty stores and children's departments? 
I'm amazed!

>In the 16th C (at least in London according to _London Bodies_) the
>average height for women was 5'2 1/4" (158cm). In 1998 it was 5'3
>3/4" (162cm). Frankly, that's not much of a difference.
>Most people assume that people "back then" were much smaller because
>the average during the Victorian age was 5'1 1/4" (156 cm).

Still taller than I am (5' 0.5" in stocking feet)  :(

>As to a size 4 shoe being small, most women in the US wear about a 7
>1/2-8.

Are there regional variations? Here in the NYC area, I'd have thought the 
average shoe size was 8 to 8-1/2.

>The usual low size for most shoe stores is 6-6 1/2 (with those
>being smaller considered "specialized").

Again, are there regional variations? While the selection is not there, 
most of the stores I shop in actually *do* carry a few models in 5's and 
5-1/2's.

>Current US average height for women is about 5'6". When I was in high
>school it was about 5'4".

This is interesting! I remember reading in a rather specious publication 
(the _National Enquirer_) back in the mid- to late-1970's that the average 
height for US women was 5' 3-1/2", and the average height for US men was 5' 
10-1/2". My understanding (fueled either by the news media or by women's or 
sewing magazines) was that the average height of US women had actually 
*dropped* since then because of the influx of many immigrants of shorter 
stature. Is it possible that it's simply the statistical *modes* that are 
changing, and instead of a single peak/normal distribution we are also 
growing or importing a lot more very tall women and having statistical 
peaks at the top and bottom ends of the scale?

Also of interest in context, US pattern companies were designing for an 
"average" Misses and Women's height of 5' 6" since the 1960's, an average 
Junior height of 5' 5", and average Half-Size height of 5' 3" (as listed in 
_Better Homes and Gardens Sewing Book_, Meredith Corporation, 1961, 1970, 
pp. 9-10). Why would a pattern company design for an "average" height that 
was significantly taller than the "average"?

>If it is anything like the men, it may top out where it is or it may (like 
>the men
>seem to be doing) decline a bit.

Decline? I think I'm seeing less of that in men than in women, but that's 
completely anecdotal. OTOH, I'm wondering if this is related to fast-food 
diets, white collar jobs, and Couch Potato Syndrome, and might reverse as 
the generation after the present one becomes health-obsessed...



Brenda
webwarren@earthlink.net


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Subject: Re: [h-cost] Triangular busks
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I mean tapered as in 1/2 to 1 inch wider at the top of the busk than at
the bottom.

I'm willing to bet Norris is behind it all, too...I vaguely recall an
astonishingly inaccurate depiction of a corset from his book that may have
included a tapered busc...

Drea

 On Mon, 22 Sep 2003 kat@grendal.rain.com wrote:

>
> > Here's a question--every extant busk I've seen, and every corset that
> > has a pocket for a busk, has shown the busk to be untapered--just a
> > straight length of material.  How did the triangular or tapered busk
> > concept first come into being?  I know when I started out in
> > costuming, I for some reason assumed this was how busks looked.
>
> Tapered how? I've always seen them as basically an ivory, bone or
> wood (and whalebone in period) in the shape of a ruler with the tip
> tapered to fit into the point of the corset and the top slightly
> rounded with a hole in it for the busk lace. That's what the
> Pfalzgrafin Dorothea Sabina corset looked like it might have had at
> one time.
>
> I'd like to know where people have evidence for busk knives. ;)
>
> Kat
> <kat@redtrollforge.com>
>
>
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Bodice daggers? <g>
Aren't those strictly RenFaire?
--sue

kat@grendal.rain.com wrote:
> 
 
> I'd like to know where people have evidence for busk knives. ;)
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> I mean tapered as in 1/2 to 1 inch wider at the top of the busk than at
> the bottom.
>
> I'm willing to bet Norris is behind it all, too...I vaguely recall an
> astonishingly inaccurate depiction of a corset from his book that may 
> have
> included a tapered busc...

I flipped through Norris last night and turned up nothing on the 
subject of triangular busks, unfortunately.  My message from last night 
has a quote talking about a "slightly convex" shaped busk, though, 
which I'm taking to mean the typical "ruler shape" busk we already know 
is documentable.  His illustration of the corset is pretty much off the 
charts, but it doesn't show a curved busk front... It just looks like a 
Victorianoid straight front corset with some funky hip pad things and 
an obnoxiously long point (which looks lethal!).

Have to look elsewhere... I wish I knew where my copy of Winter & Savoy 
ran off to because there might be some clues as to where to look in the 
biblography.  I believe I have all the books they bothered to 
reference, so I s'pose I could just go  flipping through them to see if 
anything surfaces... ;)

Sarah

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From: "Suzanne" <suzanne@grannd.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Triangular busks
Date: Tue, 23 Sep 2003 09:51:27 -0400
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Ok, not saying this is necessarily a good source, especially since I haven't
reviewed where they got their info, but there are "tinted" photographs of
actual pieces rather than pencil sketches, so it's a starting point.

After hedging the bet sufficiently ;)  In Support and Seduction, A History
of Corsets and Bras, by Beatrice Fontanel,  Page 30 there are photos of what
actually look like a cross between a thin metal busk and very large letter
openers.

"Made of boxwood, ivory, engraved mother-of-pearl, damascened silver or
among the less wealthy, of turkey cartilage-the busk sometimes held a
dagger. When one had eaten too much, it was always possible to remove the
busk from the slot sewn for it in the bodice and show it around, which
explains the fashion for highly wrought and valuable busks."

So there's the first bit I've been able to *add* to a conversation in a long
time...I always receive allot of great sources...so thank you everybody.

Suz


> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Kass McGann
> Sent: Tuesday, September 23, 2003 7:35 AM
> To: 'Historical Costume'
> Subject: RE: [h-cost] Triangular busks
>
>
> I'd like to know where people have evidence for busk knives. ;)
> >>>>
> Don't you mean "bodice daggers", Kat?  <WINK>
>
> Kass
>
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Bodice daggers? <g>
Aren't those strictly RenFaire?
>>>>
Yeah.  Aren't they the same thing as "busk knives"?

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
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Subject: RE: [h-cost] Triangular busks
Date: Tue, 23 Sep 2003 10:10:26 -0400
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After hedging the bet sufficiently ;)  In Support and Seduction, A
History
of Corsets and Bras, by Beatrice Fontanel,  Page 30 there are photos of
what
actually look like a cross between a thin metal busk and very large
letter
openers.
>>>>
Sadly, she doesn't give a date, or even a century.  Anyone recognize the
busks in the picture?

Kass

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> Yeah.  Aren't they the same thing as "busk knives"?

I've never heard them called "busk knives" but I knew exactly what you 
were talking about.  Maybe it's a regional thing.  ;)

And as far as I can tell, they're a romanticism.  Gosh, somewhere... 
Again I'm thinking it's Winter & Savoy for some reason... I read 
something along the lines of women using sharpened busks as 
self-defense weapons.  Could be plausible, but it might also explain 
where the bodice dagger/busk knife thing originated from.  Also, most 
bodice daggers look a lot like stiletto knives, which leaves me to 
think that metal-smiths in the faire circuit may have just shortened a 
stiletto and said "here's something to wedge between your boobs and it 
looks cool!"

What happens if you take it out too quickly?  Automatic mastectomy!  
Eeek!

Sarah

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Greetings all!

This should be an interesting question:

If you could choose one costuming book that you couldn't live without, what
would it be?

Sheridan



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> If you could choose one costuming book that you couldn't live without, 
> what
> would it be?

Probably Patterns of Fashion.  All three of them, really.

Sarah

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Queen Elizabeth's Wardrobe Unlock'd.

Hands down.

Drea


On Tue, 23 Sep 2003, Sheridan & Shane wrote:

> Greetings all!
>
> This should be an interesting question:
>
> If you could choose one costuming book that you couldn't live without, what
> would it be?
>
> Sheridan
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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> If you could choose one costuming book that you couldn't live without, what
> would it be?

_One Thousand and One Extant Headdresses of the Middle Ages_

Oh... you mean existing books?

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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If you could choose one costuming book that you couldn't live without,
what
would it be?
>>>>
Medieval Finds from Excavations in London: 4 - Textiles and Clothing
circa 1150-1450 by Elisabeth Crowfoot, Frances Pritchard, and Kay
Staniland

Not for the actual data contained therein, but for what it taught me
about looking at extant pieces.  If I lost everything I've learned about
historic clothing, I could rebuild my knowledge starting with this book.

Kass

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Subject: Re: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article 
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     I agree that it looks 18thC, though I could ask a shoe historian friend if 
necessary.  We're all recovering from the hurricane, and just got flooded with 
extra rain last night! :-/

     I'm reminded that there is a pair of stockings said to belong to Queen 
Elizabeth I, but after examining them Deborah Pulliam believes they are also 
18th century.

     -Carol


Theresa Eacker <theresa@misc.com> said:
> Well, that just does not look like a late 16th century shoe to me, more 
> like an 18th century shoe.  Could this be mislabeled somewhere along the 
> line?

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Please allow me to clarify. I know I can search companies that make awards,
etc., for printed ribbon. I am looking for a recommendation from someone who
had actually used one of these companies. Also, I am looking for yardage,
not award-type or bookmark-type ribbons available from wedding supply
places.

Gail Finke

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From h-costume-bounces@indra.com  Tue Sep 23 10:49:21 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Triangular busks-funky hip pad things and other musings
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I wonder if he was looking at the late 18th century one which Kent State has
now?  It is on the back of the last issue of Threads.  It has those funky
hip pads...it doesn't fit the manikin well, but you can see how they would
support a skirt on a person of the right back length.  It harkens back to my
favorite 'rule'; "if you thought of it, they probably did."

Why do you suppose they made the shoulder straps in two pieces?  They look
like they are sewn together on the outside in this example.  I guess
people's weight fluxuations would make it useful....hmmm or was it just so
you could pass down something that was labor intensive to make??

-----Original Message-----

charts, but it doesn't show a curved busk front... It just looks like a 
Victorianoid straight front corset with some funky hip pad things and 
an obnoxiously long point (which looks lethal!).

Sarah

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Kass McGann wrote:
> Medieval Finds from Excavations in London: 4 - Textiles and Clothing
> circa 1150-1450 by Elisabeth Crowfoot, Frances Pritchard, and Kay
> Staniland

I concurr.  The arrival of this book on the costuming scene was a 
revelation to many, and a delightful shock that all these bits did exist 
and we could see pictures of them.  Real clothing, instead of only 
guessing from illuminations!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: ladysarafina@att.net
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I would say Queen Elizabeth's Wardrobe Unlock'd. Aside from all the wonderful 
portraits, reading the inventory itself is very fascinating. I think my 
second choice would be Patterns of Fashion 1560 - 1650 (?).

Harlie Des Roches

--
Lady Sarafina Sinclair, CW, APF
http://ladysarafina.home.att.net
> Greetings all!
> 
> This should be an interesting question:
> 
> If you could choose one costuming book that you couldn't live without, what
> would it be?
> 
> Sheridan
> 
> 
> 
> _______________________________________________
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Kass McGann wrote:

> 
> Medieval Finds from Excavations in London: 4 - Textiles and Clothing
> circa 1150-1450 by Elisabeth Crowfoot, Frances Pritchard, and Kay
> Staniland


I notice there are at least 5 volumes in this series. What makes #4 
better than the others?



Dawn


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Dear list.
I just want to burst a little, please forgive me but i must tell you.
I have never spend that much money as i did today!
I finally went to that shop i never visited before. It is in the
countryside, and i had to take a cab some of the way to get there.
They have more than 600 different silks to choose from, and their colour
range is vast.
I was told that most of the ladies who goes to the danish  court for balls
etc. are buying their dress silks here.
Well i am glad that i had loads of money with me, i had the feeling i would
need them.
I almost passed out, when i saw those beautifull silks.
You just name it, they had everything. Also Faille wich i never had seen
before.
I baught 7 meters of smashing beautifull duchesse satin in a light blue
shade. I will use it for the copy of Gustaf III's wedding suit. + i baught
some extra ivory duchesse satin for an extra waistcoat.
Now my question:
To save as much as i can in fabric, would it then be possible to use the
breadth of the fabric to cut in stead of using it lenghtwise?
The jacket pattern has almost a full sun in the "skirt" and i could not have
2 frontpieces in one lenght.
I have baught enough fabric to use it lenghtwise, but i just wondered if i
could cut it in the breadth in stead
This wedding suit is going to be trimmed with silver bobbin lace and then it
shall be embroidered off cause!!!

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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> This is interesting! I remember reading in a rather specious
> publication (the _National Enquirer_) back in the mid- to late-1970's
> that the average height for US women was 5' 3-1/2", and the average
> height for US men was 5' 10-1/2". My understanding (fueled either by
> the news media or by women's or sewing magazines) was that the average
> height of US women had actually *dropped* since then because of the
> influx of many immigrants of shorter stature. Is it possible that it's
> simply the statistical *modes* that are changing, and instead of a
> single peak/normal distribution we are also growing or importing a lot
> more very tall women and having statistical peaks at the top and
> bottom ends of the scale?

The average hasn't dropped because of the influx. That's because the 
children of those immigrants have mostly turned out to be of "normal" 
size.

I don't know where the National Inquirer got its information for the 
70s. I got it from the American Academy of Pediatric sources. (I'd 
have to go look at the bottom of the sheet to see the actual source 
and they are packed away right now.)

> Also of interest in context, US pattern companies were designing for
> an "average" Misses and Women's height of 5' 6" since the 1960's, an
> average Junior height of 5' 5", and average Half-Size height of 5' 3"
> (as listed in _Better Homes and Gardens Sewing Book_, Meredith
> Corporation, 1961, 1970, pp. 9-10). Why would a pattern company design
> for an "average" height that was significantly taller than the
> "average"?

Good question, but I know in the late 60s that you couldn't model 
professionally as an adult unless you were at least 5'6". (I was sooo 
pissed that my child modeling couldn't seque into adulthood, but I 
only made it to 5'4". So much for the money to put me through medical 
school.) I suspect that they figured that some women are going to be 
"half-size" and some "misses" and "women", and that they covered the 
usual women's heights that way.

> >If it is anything like the men, it may top out where it is or it may
> >(like the men seem to be doing) decline a bit.
> 
> Decline? I think I'm seeing less of that in men than in women, but
> that's completely anecdotal. OTOH, I'm wondering if this is related to
> fast-food diets, white collar jobs, and Couch Potato Syndrome, and
> might reverse as the generation after the present one becomes
> health-obsessed...

Good question, but the current information coming out of the medical 
community about height is that the men's average height has recently 
been dropping.

Kat
<kat@redtrollforge.com>


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> > If you could choose one costuming book that you couldn't live
> > without, what would it be?
> 
> _One Thousand and One Extant Headdresses of the Middle Ages_
> 
> Oh... you mean existing books?

Oh! Could I get that one too! (That and one like it on clothes, and 
another on shoes.)

Kat
<kat@redtrollforge.com>


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> I'd like to know where people have evidence for busk knives. ;)
> >>>>
> Don't you mean "bodice daggers", Kat?  <WINK>

Busk knives seems to be one of the names I've heard for them. But 
I've also heard bodice daggers. (My husband is a 
bladesmith/blacksmith and gets requests for them.)

Going back to the page 30 in Support and Seduction, some of the busks 
she shows on that page could be the inspiration for the 
knives/daggers. Not something *I* would want in my bodice, but then, 
I've never gone in for that sort of thing. (I prefer front laced 
corsets anyway.)

Kat
<kat@redtrollforge.com>


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I notice there are at least 5 volumes in this series. What makes #4 
better than the others?
>>>>
Nothing.  They're all good.  It's just that Horse Furniture, Belts and
Scabbards, and Shoes aren't in my area of interest.  =)

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> > Medieval Finds from Excavations in London: 4 - Textiles and Clothing
> > circa 1150-1450 by Elisabeth Crowfoot, Frances Pritchard, and Kay
> > Staniland
> 
> 
> I notice there are at least 5 volumes in this series. What makes #4
> better than the others?

Each has a different emphasis. If you are into clothing and textiles, 
you would probably want the one above.

However, if you are into horse equipment, shoes/pattens, dress 
accessories, knives/scabbards or household items, you might prefer 
one of those.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article 
Date: Tue, 23 Sep 2003 09:05:57 -0700
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Imagine a shoe rose on it though. It does look very much like a 16th century
shoe with a rose on it.  The tapestry pattern isn't clear in the photo
unfortunately.  Still, I'm going to write for more details and report back.

Lisa Sinervo

----- Original Message -----
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, September 23, 2003 7:41 AM
Subject: Re: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article


>
>      I agree that it looks 18thC, though I could ask a shoe historian
friend if
> necessary.  We're all recovering from the hurricane, and just got flooded
with
> extra rain last night! :-/
>
>      I'm reminded that there is a pair of stockings said to belong to
Queen
> Elizabeth I, but after examining them Deborah Pulliam believes they are
also
> 18th century.
>
>      -Carol
>
>
> Theresa Eacker <theresa@misc.com> said:
> > Well, that just does not look like a late 16th century shoe to me, more
> > like an 18th century shoe.  Could this be mislabeled somewhere along the
> > line?
>
> _______________________________________________
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Ooooh, you're positively evil! I'm interested in so many different
aspects of historical costuming, and so many divergent times and styles
that the thought of having only one book actually hurts!
Playing along with the rules of the thread, though, I'd choose Janet
Arnold's _Queen Elizabeth's Wardrobe Unlocked_, if only because it's so
comprehensive, and has text AND pictures AND stuff from primary sources.
--sue

Sheridan & Shane wrote:
> 
> Greetings all!
> 
> This should be an interesting question:
> 
> If you could choose one costuming book that you couldn't live without, what
> would it be?
> 
> Sheridan
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Absolutely, ladies.  It's my runner-up, behind QE's Wardrobe.
--sue, going off to the bookshelves to reassure her other books that
they're ALL important! <g>

Cynthia Virtue wrote:
> 
> Kass McGann wrote:
> > Medieval Finds from Excavations in London: 4 - Textiles and Clothing
> > circa 1150-1450 by Elisabeth Crowfoot, Frances Pritchard, and Kay
> > Staniland
> 
> I concurr.  The arrival of this book on the costuming scene was a
> revelation to many, and a delightful shock that all these bits did exist
> and we could see pictures of them.  Real clothing, instead of only
> guessing from illuminations!
> 
> --
> Cynthia Virtue and/or
> Cynthia du Pré Argent
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#4's the volume on textiles and clothing.  The other volumes cover other
topics (shoes, knives and scabbards, accessories).
--sue

Dawn wrote:
> 
> Kass McGann wrote:
> 
> >
> > Medieval Finds from Excavations in London: 4 - Textiles and Clothing
> > circa 1150-1450 by Elisabeth Crowfoot, Frances Pritchard, and Kay
> > Staniland
> 
> I notice there are at least 5 volumes in this series. What makes #4
> better than the others?
> 
> Dawn
> 
> _______________________________________________
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My brain is being extra-weird today, and insisting on combining two
recent threads (the busk one and the book one).
My very first costuming book was a copy of Winter & Savoy, which I still
have, although it's gone quite tattered
My most recent purchase was _Textiles: 5000 Years_, edited by Jennifer
Harris.
What about the rest of you? What were your first, and most recent,
costuming books?
--sue
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> My brain is being extra-weird today, and insisting on combining two
> recent threads (the busk one and the book one). My very first
> costuming book was a copy of Winter & Savoy, which I still have,
> although it's gone quite tattered My most recent purchase was
> _Textiles: 5000 Years_, edited by Jennifer Harris. What about the rest
> of you? What were your first, and most recent, costuming books? --sue

My first was Kohler's book (which I still use for the pictures of 
extant garments). 

My most recent one was the gift of a copy of _The Visual History of 
Costume: 14th and 15thC_. (It was the only one in the entire series 
that I didn't have.) 

Of the ones I purchased for myself, it's hard to say because I got 
about 5 books at once. But one of them was _The London Weaver's 
Company Vol 1_ which has photographs of things like the original 
charter (including their seals!), transcriptions of ordinances, etc. 
(Volume 1 is 12thC to the close of the 16thC.)

Another one was _Of His Array Telle I No Lenger Tale: Aspects of 
costume, arms and armour in Western Europe, 1200-1400_ which is a 
series of articles (some in English, others in German and I believe 
Dutch.) (As I'm trying to fill in some lacunae in my library. Right 
now 13th-15thC Europe seems to be the focus.)

Kat
<kat@redtrollforge.com>


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Kat writes:

>The average hasn't dropped because of the influx. That's because the
>children of those immigrants have mostly turned out to be of "normal"
>size.

Ah. That makes sense :)

>I don't know where the National Inquirer got its information for the
>70s.

It was back _in_ the 'seventies, and it was in an article about the 
evolution of the "White Rock Girl", which at that time would have been 
taller than 5' 8"... Of course, as I noted, the _National Enquirer_ is a 
rather specious publication to begin with (starting with all the 
manufactured celebrity romances and going on to Near-Death-Experiences, 
UFOs, and Sasquatch sightings)...

> > Why would a pattern company design for an "average" height that was
> > significantly taller than the "average"?
>
>Good question, but I know in the late 60s that you couldn't model
>professionally as an adult unless you were at least 5'6".

I'm trying to remember where it was I read it (probably another specious 
supermarket tabloid), but the required heights for models depend on the 
city and the medium/media for which the person is modeling... something 
like 5' 8" for fitter's models, and anywhere from 5' 9-1/2" to 5' 11-1/2" 
for runway mannequins, depending on the city?

I'd really like to see print and media models who look like *real* people 
-- not the thinnest, tallest, most-anorexic-or-most-physically-fit people 
that could possibly wear a certain size grouping. I'd like to see Women's 
models who wear a Size 22, Women's Petite models in *any* WP size, but 
preferably ones who wear a Size 20 or larger; I'd like to see Misses and 
Petites models who are 5' 6" and a Size 10 or 12, "Supersize" models who 
are a Size 32 or larger, Big Men's models of average height and above 
average girth...

>I suspect that they figured that some women are going to be
>"half-size" and some "misses" and "women", and that they covered the
>usual women's heights that way.

I don't know about the rest of the world, but I'd grown up thinking "half 
sizes" meant "fat women's sizes"... possibly because the smallest size I 
ever remember my 4' 10-1/2" mother wearing was a 16-1/2, and -- except for 
her friend Renee -- she was probably the broadest woman I'd known until I 
was well into my school years... Also, most of the styles that came in 
Misses sizes did not also come in Half Sizes at the time...

Changing the body type and naming from "Half Size" to "Misses Petite" does 
not seem to have helped matters much, either... and I recently read (on the 
Liz Claiborne site, for example) that the difference between Misses and 
Misses Petite pants is only a shorter rise, with the inseam remaining the 
same from Misses to Petite. The sleeve lengths of jackets are similarly no 
longer adjusted for the change in height. *sigh* When will they learn that 
not all of us have legs and arms that go on "forever"...

>Good question, but the current information coming out of the medical
>community about height is that the men's average height has recently
>been dropping.

Well then maybe there's some hope that I won't spend *all* of my life 
looking straight forward... into men's belt buckles or below.



Brenda
webwarren@earthlink.net


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>My very first costuming book was a copy of Winter & Savoy, which I still
>have, although it's gone quite tattered
>My most recent purchase was _Textiles: 5000 Years_, edited by Jennifer
>Harris.
>What about the rest of you? What were your first, and most recent,
>costuming books?

My first book was Davenport, which I talk about all the time and which is 
still my favorite.  My book anything like a costume book was a book on 
historical costumes for dolls.  It's by Lark Books, and is called something 
like Sewing Victorian Doll Clothes.  It is copiously illustrated with 
examples of doll clothes actually made between about 1830 and 1915, usually 
on the original doll.  The patterns and sewing techniques bear some 
resemblance to the illustrated examples, but it's not a mini-Janet-Arnold.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

              //// \\\
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To save as much as i can in fabric, would it then be possible to use the
breadth of the fabric to cut in stead of using it lenghtwise?
The jacket pattern has almost a full sun in the "skirt" and i could not
have
2 frontpieces in one lenght.
I have baught enough fabric to use it lenghtwise, but i just wondered if
i
could cut it in the breadth in stead
>>>>
In period, they did an awful lot of piecing, even on very expensive
clothing.  If you can piece enough fabric together to cut it lengthwise,
that would be best.  Sometimes you can get away with cutting things on
the cross, but as Nicole mentioned, the skirts are the problem;  they
won't drape properly if they're not on the straight.
>>>>
This wedding suit is going to be trimmed with silver bobbin lace and
then it
shall be embroidered off cause!!!
>>>>
You MUST show us pictures when it's finished!

Kass

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> What about the rest of you? What were your first, and most recent,
> costuming books?

My first was a christmas present, Boucher's 20,000 Years of Fashion. 
This was almost 30 years ago when you could get it on remainder.  Most
recent was Digby's Elizabethan Embroidery, found it on eBay!.  Ok, so it
is more on needlework, but the embroidery is on costume accessories :).

Catherine

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I've been doing costuming since I was a highschool student (back in the Age of the Dinosaurs AKA 1970's) so I can't remember which one of these I bought first but some early purchses were:

Patterns of Fashion (1660-1860)
The Distaff Sketchbook
A History of Costume by Carl Kohler

My most recent purchases were at CostumeCon when I bought two books on clothing of the 1920's and 1930's. The authors' names escape me, but they are quite good and are in the same style as Jean Hunnisett's books. My interests have broadened as well!

Karen




-- Sue Clemenger <mooncat@in-tch.com> wrote:
My brain is being extra-weird today, and insisting on combining two
recent threads (the busk one and the book one).
My very first costuming book was a copy of Winter & Savoy, which I still
have, although it's gone quite tattered
My most recent purchase was _Textiles: 5000 Years_, edited by Jennifer
Harris.
What about the rest of you? What were your first, and most recent,
costuming books?
--sue
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Subject: Re: [h-cost] 1st and last books
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My first was 2,000 Years of Fashion - I lucked out and got it on a
remaindered table in the 70's for $4-5 dollars. Last night I bought
"Everyday Clothing of the 1940's" (Dover publication to go with my "...From
the 1920's" and "...From the 1930's") and I placed an order for the
"Goddesses" book from the museum in NY. Should get it next week.

LynnD
Who really likes much of the clothing from the 20th Century

> Sue Clemenger wrote:
> 
> 
>> What about the rest of you? What were your first, and most recent,
>> costuming books?

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Re: Average human size?
Date: Tue, 23 Sep 2003 14:24:26 -0400
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Brenda wrote:
<<I'd really like to see print and media models who look like *real*
people 
-- not the thinnest, tallest, most-anorexic-or-most-physically-fit
people 
that could possibly wear a certain size grouping.>>

Hi Brenda.  There's a common misconception that models are what we women
are expected to look like in our society and that somehow the
media/fashion industry has foisted this burden of thinness upon us.

The truth is that models (particularly runway models, who are the
tallest and thinnest) are not supposed to be a representation of what a
woman should look like.  They are supposed to be walking clothes hangers
used solely for the purpose of displaying clothing in fashion shows.

They're supposed to be taller and thinner than normal because their
bodies are not supposed to detract from the look of the clothing.
You're not supposed to find them attractive.  You're not supposed to
notice them at all.

It wasn't until the 1980s when runway models started becoming
celebrities.  That's when I think we all got really confused...

The pattern and garment industries don't base their sizes on runway
models.  They base their sizes on a statistical norm of the population.
Recently that norm has been revised in because we Americans are... um...
"collectively changing shape" shall we say.

Garment sizes are only a starting point, not a rule for how you should
look.  If the clothing you find on the rack is too big here or too tight
there, it should be taken to a tailor (another thing our society has
forgotten...).  If they don't have your size, you need to shop
elsewhere.

Men don't look at male models and beat themselves up for not looking
like them, so why should we!  And male models are just as freakish as
female models!  Their narrow waists and over-developed muscles aren't
representative of the population.  If men wore clothing made to fit
these men, no one would be able to find clothes.

Don't look at models as "role models".  They're just mannequins, clothes
hangers, display pieces.

Be who you are.  Be proud of it.  =)

I hope this helps to put things in context a little better.

Kass

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From h-costume-bounces@indra.com  Tue Sep 23 14:28:59 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20030923173122.5632.qmail@web41508.mail.yahoo.com>
Subject: Re: [h-cost] expensive day
Date: Tue, 23 Sep 2003 20:30:35 +0200
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Dear Nicole,
I thank you for the prompt answer. I guess i better cut it the usual way.
It is rather interresting with this suit. Gustaf III's wedding was in 1766,
his suit was made in Paris and it is a little oldfashioned cut for the year
66. But it was a royal wedding, and ceremonial dress is always a little
oldfashioned.
However the embroidery was quite fashionable.
The silver lace i make for this, is a little similar to your baroque dress.
But i changed the pattern and made it more round and curved. I hope you dont
mind i use it!
Now the best part of all that work i am going to do is drawing a pattern for
the embroidery. This time i will use more colour than i did in the first
jacket.
Oh i cant waite to start!
Thanks for your good advises Nicole!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, September 23, 2003 7:31 PM
Subject: Re: [h-cost] expensive day


> --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Dear list.
> > I just want to burst a little, please forgive me but i must tell you.
> > I have never spend that much money as i did today!
>
> First of all, congratulations!!! It must have been a WONDERFUL day and I
wish I
> could see that shop.
>
> > To save as much as i can in fabric, would it then be possible to use the
> > breadth of the fabric to cut in stead of using it lenghtwise?
>
> No dear, you really can't, because it will make the skirts of the coat
fall all
> wrong. When you look at the originals, you can see the seems in the skirts
> where they added pieces to get the full width. If you don't cut it the way
you
> usually would and it was done back then, when you leave the coat hanging
for a
> while, it would all go out of shape.
>
> > The jacket pattern has almost a full sun in the "skirt" and i could not
have
> > 2 frontpieces in one lenght.
> > I have baught enough fabric to use it lenghtwise, but i just wondered if
i
> > could cut it in the breadth in stead
>
> Nope, sorry, don't do it, you'd be angry with yourself afterwards *S*
>
> > This wedding suit is going to be trimmed with silver bobbin lace and
then it
> > shall be embroidered off cause!!!
>
> It shall be a work of art, as usual!!!
>
> Niocle
>
> =====
> Cap'n Cat of the good ship 'Harlot'
> http://www.kipar.org/society/author/pirates/
>
> Email: nicole@kipar.org
> URL: http://www.kipar.org
>
> ________________________________________________________________________
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> Messenger http://mail.messenger.yahoo.co.uk
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From: Theresa Eacker <theresa@misc.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1st and last books
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First book: Theatrical Patterns by Holkeboer (yes, I know...UGH; group 
cringe, everybody!!)

Most recent: Umbrellas and Parasols from Costume Accessories by J. Farrell

ONE BOOK ONLY???? ARGH!!! Remember the scene in  "Name of the Rose" when 
the library goes up in flames and Sean Connery's character wants to save 
all of the books...that awful, desperate look of grief and loss?... 
that's what that question does to my psyche...Jeez, talk about subtle 
torture.

THeresa Eacker

Sue Clemenger wrote:
> My brain is being extra-weird today, and insisting on combining two
> recent threads (the busk one and the book one).
> My very first costuming book was a copy of Winter & Savoy, which I still
> have, although it's gone quite tattered
> My most recent purchase was _Textiles: 5000 Years_, edited by Jennifer
> Harris.
> What about the rest of you? What were your first, and most recent,
> costuming books?
> --sue
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Tue, 23 Sep 2003 11:46:18 -0700
Subject: Re: [h-cost] 1st and last books
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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If you remember the author, would you please tell us?  I've been building up
a library for these decades recently. Will need a new bookcase soon.

LynnD

On 9/23/03 11:15 AM, "seamstrix@juno.com" <seamstrix@juno.com> wrote:

> 
> 
> I've been doing costuming since I was a highschool student (back in the Age of
> the Dinosaurs AKA 1970's) so I can't remember which one of these I bought
> first but some early purchses were:
> 
> Patterns of Fashion (1660-1860)
> The Distaff Sketchbook
> A History of Costume by Carl Kohler
> 
> My most recent purchases were at CostumeCon when I bought two books on
> clothing of the 1920's and 1930's. The authors' names escape me, but they are
> quite good and are in the same style as Jean Hunnisett's books. My interests
> have broadened as well!
> 
> Karen
> 
> 
> 
> 
> -- Sue Clemenger <mooncat@in-tch.com> wrote:
> My brain is being extra-weird today, and insisting on combining two
> recent threads (the busk one and the book one).
> My very first costuming book was a copy of Winter & Savoy, which I still
> have, although it's gone quite tattered
> My most recent purchase was _Textiles: 5000 Years_, edited by Jennifer
> Harris.
> What about the rest of you? What were your first, and most recent,
> costuming books?
> --sue
> _______________________________________________

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] books
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Hi.
First i also want to apologise for not being with you for quite a while, i
have ben buisy as usual. Rescently i finished the dark red saque dress i
started a year ago. It is going to be used on saturday, so i wont post any
pictures before after saturday. It had to be changed rather much. I had had
wrong meassures, so the bodice was much two small. I had to make 2 new front
bodice pieces into it, and then the skirt got two small also, and i had to
make two inserted pieces into the skirt............. But i succeded even
though i was scarce of fabric.
The one and only bible for me is the Kyoto Costume book!
The latest book i have baught is: The Victoria & Albert Museum's Textile
Collection Embroidery in Britain from 1200 to 1750 .

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Sue Clemenger wrote:


> What about the rest of you? What were your first, and most recent,
> costuming books?

It was either the Braun & Schneider picture book or the SCA Known World 
Handbook... it was the late 80's and all the good costuming books had 
been out of print for a few years (just long enough to no longer be in 
used bookstores and library copies were starting to get stolen).

I most recently bought '59 Authentic Turn of the Century Fashion 
Patterns.' My interests have broadened quite a bit in the last decade.



Dawn



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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] expensive day
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 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Dear list.
> I just want to burst a little, please forgive me but i must tell you.
> I have never spend that much money as i did today!

First of all, congratulations!!! It must have been a WONDERFUL day and I wish I
could see that shop.

> To save as much as i can in fabric, would it then be possible to use the
> breadth of the fabric to cut in stead of using it lenghtwise?

No dear, you really can't, because it will make the skirts of the coat fall all
wrong. When you look at the originals, you can see the seems in the skirts
where they added pieces to get the full width. If you don't cut it the way you
usually would and it was done back then, when you leave the coat hanging for a
while, it would all go out of shape.

> The jacket pattern has almost a full sun in the "skirt" and i could not have
> 2 frontpieces in one lenght.
> I have baught enough fabric to use it lenghtwise, but i just wondered if i
> could cut it in the breadth in stead

Nope, sorry, don't do it, you'd be angry with yourself afterwards *S*

> This wedding suit is going to be trimmed with silver bobbin lace and then it
> shall be embroidered off cause!!!

It shall be a work of art, as usual!!!

Niocle

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

Email: nicole@kipar.org
URL: http://www.kipar.org

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Heh, I thought my original question might cause a few fused synapses, myself
I got stuck on two favorites. One is a very simple little book, more of a
pamphlet really, called 'Cut my Cote'. The other is 'Ancient Danish Textiles
from Bogs and Burials' by Margrethe Hald, which is the last costuming book I
purchased.

The first costuming book I purchased was for a whopping 3 dollars at a used
book shop, I think it had been used as a costume history text as most of the
relevent text is covered in pencil and hi-light marker. The name of the
thing completely escapes me at the moment, it's still packed away
somewhere...

Sheridan



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> Most people assume that people "back then" were much smaller because
> the average during the Victorian age was 5'1 1/4" (156 cm).

I know very well those facts, but you also confirm what I said, being that
they were *slightly* smaller... I didn't say much smaller, and not even
smaller, just *slightly* smaller, and according to your numbers, they were.
I've been on this list long enough to be warned about those matters.

And thanks for calling me abnormal :-) With a father that weighed 130 pounds
and a mom that weighed around 90 when they got married, I just can't help
being a little out of average. My point was just that if it's possible now,
it certainly was possible then, and that that shoe could well be hers, and
she could still be a "normal" height with "normal" sized feet, if a little
small. I just wanted to point out that it was *possible*, not that it was
*average*.
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 The problem is that we do look at celebrities for "normal". We are constantly being bombarded with the likes of Calista Flockhart, Courteney Cox, Laura Flynn Boyle...etc...Even if people aren't looking at fashion magazines, we still see these images on popular T.V.  On the flip side, we also have incredibly sedentary lives and eat over-processed fast and convenient food. How many billions of dollars do the diet companies rake in every year? I used to work in a vintage clothing shop and now work in a shop that sells lingerie and there is a drastic difference in what constitutes "average" size. If Marilyn Munroe lived in today's world, she'd be shopping in the plus sizes. Cheers,Wendywww.hecate.ca/emma/ --- On Tue 09/23, Kass McGann &lt; historian@reconstructinghistory.com &gt; wrote:From: Kass McGann [mailto: historian@reconstructinghistory.com]To: h-costume@indra.comDate: Tue, 23 Sep 2003 14:24:26 -0400Subject: RE: [h-cost] Re: Re: Average human size?Brenda wrote:&lt;people!
  -- not the thinnest, tallest, most-anorexic-or-most-physically-fitpeople that could possibly wear a certain size grouping.&gt;&gt;Hi Brenda. There's a common misconception that models are what we womenare expected to look like in our society and that somehow themedia/fashion industry has foisted this burden of thinness upon us.The truth is that models (particularly runway models, who are thetallest and thinnest) are not supposed to be a representation of what awoman should look like. They are supposed to be walking clothes hangersused solely for the purpose of displaying clothing in fashion shows.They're supposed to be taller and thinner than normal because theirbodies are not supposed to detract from the look of the clothing.You're not supposed to find them attractive. You're not supposed tonotice them at all.It wasn't until the 1980s when runway models started becomingcelebrities. That's when I think we all got really confused...The pattern and garment industries don't b!
 ase their sizes on runwaymodels. They base their sizes on a st!
 atistica

l norm of the population.Recently that norm has been revised in because we Americans are... um..."collectively changing shape" shall we say.Garment sizes are only a starting point, not a rule for how you shouldlook. If the clothing you find on the rack is too big here or too tightthere, it should be taken to a tailor (another thing our society hasforgotten...). If they don't have your size, you need to shopelsewhere.Men don't look at male models and beat themselves up for not lookinglike them, so why should we! And male models are just as freakish asfemale models! Their narrow waists and over-developed muscles aren'trepresentative of the population. If men wore clothing made to fitthese men, no one would be able to find clothes.Don't look at models as "role models". They're just mannequins, clotheshangers, display pieces.Be who you are. Be proud of it. =)I hope this helps to put things in context a little better.Kass_______________________________________________h-costume ma!
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----- Original Message ----- 
From: "Kass McGann" <historian@reconstructinghistory.com>
> Embroidery takes a lot of time and effort.  I shudder to see someone who
> desires to make a historic garment waste their time on something they
> will eventually find is not accurate to the period.

... unless they know from the start and decide to go at it anyway because
they LIKE it :-) But that just confirms the point you're trying to make.
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] First and last books
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Sheridan, may I ask where you got your copy of Hald? I seem to recall that it had been reprinted,
but for the life of me I can't remember the details of it. (Was I dreaming? It's certainly
possible!) I've looked at the used dealers, but lately it's been way overpriced. Anybody know where
to get the Danish Textiles book? 

As far as first and last.... geez, my first costuming book was when I was in high school, called _A
History of Fashion_, by Black and Garland. Picked it up at a library used-book sale. It's so-so,
but it did serve to spark my imagination for costumes.  Most recent book is called _The Work of
Angels_, about Celtic jewelry and metalwork. Not really about clothing, but it has *very*
interesting accessories. ;o> 

 Thanks!

::Linda::
You can't always judge by appearances: 
the early bird may have been up all night.

-----Original Message-----
On Behalf Of Sheridan & Shane
Sent: Tuesday, September 23, 2003 3:13 PM
 Subject: [h-cost] First and last books

Heh, I thought my original question might cause a few fused synapses, myself
I got stuck on two favorites. One is a very simple little book, more of a
pamphlet really, called 'Cut my Cote'. The other is 'Ancient Danish Textiles
from Bogs and Burials' by Margrethe Hald, which is the last costuming book I
purchased.

Sheridan




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Subject: Re: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article
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----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
> I was interested to learn that, at 5'2", I'm not much below the average
> size for British women. My shoe size is 5, which used to be the
> commonest, but I believe that is now size 6.

Hmm, is that UK sizes or US sizes? Because a UK3 is about a US5... 
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> > > My mom is 5'2" and wears a size 4.
> And she finds shoes outside of specialty stores and children's
departments?
> I'm amazed!

Don't be amazed. She doesn't. And for that matter, I don't usually either
with my size 5, unless I go to really cheap stores (like Payless - and I
don't like shopping there) or really expensive ones.

> >The usual low size for most shoe stores is 6-6 1/2 (with those
> >being smaller considered "specialized").
> Again, are there regional variations? While the selection is not there,
> most of the stores I shop in actually *do* carry a few models in 5's and
> 5-1/2's.

You're lucky. Most stores up here in Montreal start at size 6. Except the
more expensive one, which *might* start at 5. But when they have a size 5,
it's already sold when you get there, and you have to hunt it down.

As for costuming contents... all I can say is that I'm really happy that
Margo decided to design her patterns to go from sizes 2 to 30! Some
commercial patterns I have to adjust because they're too big :-(
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> What about the rest of you? What were your first, and most recent,
> costuming books?

Hm... when I was in high school my mom bought me a copy of the infamous
Peacock book. That was my first costuming book.

But when I became interested in costuming "for real", the first book I
bought was 20,000 years of fashion. I have a VERY extensive list of books
I'd like to get eventually, but I think my last acquisition (a gift,
actually, but I would have bought it anyway) is Fashion (by Kyoto Costume
Institute).

The rest are general art books I got because they were inexpensive and
contained a reasonable amount of interesting portraits :-)
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     I heard there is a technical reason for this, and I probably read it on 
this list!  Whoever said it first, please take credit.  When fabric is woven, 
the warp threads are under tension.  It's this strength that makes the fabric 
hang best with the warp threads vertical.

     Linsey woolseys and cotton-linen fustians were historically made with a 
linen warp, but similar fabrics today tend to be made with a linen weft 
instead.  I tend to "turn" these fabrics sideways so the warp & weft is 
historically correct.  But I've only made lower class clothing that doesn't 
need to hang beautifully out of these fabrics. :-)

     -Carol


N Kipar <nicolas_fouquet@yahoo.com> said:
> No dear, you really can't, because it will make the skirts of the coat
> fall all wrong. When you look at the originals, you can see the seems
> in the skirts where they added pieces to get the full width. If you
> don't cut it the way you usually would and it was done back then, when
> you leave the coat hanging for a while, it would all go out of shape.

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The one book to have if you are doing early 19th century--"Revolution in 
Fashion."

My first costume book?  Not the fvery irst one I owned, but it was in my high 
school and public library--"The Mode in Costume."  Okay, I know it has a 
really poor reputation today, and I understand why, but it got me hooked on 
historic costume.  I made paper dolls with costumes from it.  When I found the book 
at a used book sale in about 1980, I was glad to get it.

Latest book, "What Clothes Reveal," to accompany the Williamsburg exhibit.  
(I've seen it once and must make plans to see it again.)

Ann Wass
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Linda Rice wrote:
> Sheridan, may I ask where you got your copy of Hald? I seem to recall that
it had been reprinted,
> but for the life of me I can't remember the details of it. (Was I
dreaming? It's certainly
> possible!) I've looked at the used dealers, but lately it's been way
overpriced. Anybody know where
> to get the Danish Textiles book?

Hi Linda,

I bought it new almost two years ago, for $117 dollars Canadian in
Saskatoon, Saskatchewan. I had ordered it from a small local bookstore that
was willing to bring in 'odd' orders. As it was they called me back twice
before they placed the order to make sure I really wanted to spend that much
on a book. :-)

All I did was go to the store armed with the name of the book and the
author, and they looked it up for me. I am *so* upset that this great little
independant store was forced out of business this past summer. They were
wonderful at bringing in things mainstream bookstores wouldn't. (pout, sulk)

The main reason I had decided to purchase for that rather hefty sum, was
that I couldn't get my hands on it any other way. I'm sure if you shop
around you should be able to get a better deal, it is in print.

Sheridan



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     My first was Blanche Payne's _A History of Costume_, from my college 
costume history class.  I kept it at the end of the semester.  Ever notice how 
many books have that title, so we need to call them by author? :-)

     For the last one, Mara Riley's _Whatever Shall I Wear_.  It's an excellent 
cheap skinny book, and while I may well already know the information I like to 
support independent publications and it's great for show & tell.

     -Carol

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> You're lucky. Most stores up here in Montreal start at size 6. Except
> the more expensive one, which *might* start at 5. But when they have a
> size 5, it's already sold when you get there, and you have to hunt it
> down.
> 
> As for costuming contents... all I can say is that I'm really happy
> that Margo decided to design her patterns to go from sizes 2 to 30!
> Some commercial patterns I have to adjust because they're too big :-(

Aren't shoes part of costuming?

Kat
<kat@redtrollforge.com>


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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: [h-cost] Missing in Action
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I like Bjarne have been missing in action too.  We've been living a
nightmare from the past couple of months.  I have had to make two trips back
home to Mississippi... one brother got West Nile, and another brother was
bite by a brown recluse (sp) spider, and was having heart problems.  I came
home to Virginia for a week. During that week my mom had surgery and had
major complications... so I had to go back to Mississippi for another week.
Got back and rushed to get my son's Eagle Scout ceremony together for the
next day.  Then the following Thursday we took a direct hit from the
hurricane.  Spent a couple of days without electricity... then back and
forth if the water was safe or not.  The kids have been out of school for a
week and driving us crazy from boredom... I hope they open the schools
Thursday.  But still trees are down everywhere and 300,000 people still
don't have lights in our metro.  Before all this happened, lighting hit my
phones, fax/scanner/printer, and TV... the frig died a couple of days before
the lighting strike, my van died and spent several days in the shop, and dog
and cat got deathly ill from allergies to fleas.

We have been joking that my life is becoming a country and western song.  I
hope the hurricane pushed all the dark clouds from over my house.  Things
are starting to look brighter this week, even with the power surges and
intermittent internet service.  After two months of being on digest version
on the email lists, I am finally receiving the lists live again.

Needless to say, we are going to take it easy for a while.  I decided that I
am not going to hold an Online Costume Ball this year.  Too much stress
around here and we need to settle down. I just don't want to do a rush job
and it turn out poorly.  I will have The Ball next year.  I hope everyone
understands.  I know how much the people on h-costume enjoy it every year.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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Costume/fashion is anything you can wear... including hair, makeup, and
accessories.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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Linda,

I was worried about you in VA Beach and Ron Cargarie in Williamburg.  How
did you make out with the hurricane?  I heard that you still have about
300,000 with out lights to.  When did you get your lights back?

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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> And thanks for calling me abnormal :-) 

Silly woman! Just because you are not "average" doesn't mean you are 
"abnormal." 

I went back to make sure I hadn't intimated that you were abnormal 
and this is what I said:
"As to a size 4 shoe being small, most women in the US wear about a 7
1/2-8. The usual low size for most shoe stores is 6-6 1/2 (with those
being smaller considered "specialized"). So, while you may consider
yourself to be "not that small", you are."

Heaven only knows that now even I am "below average". 

In terms of endocrinology (growth/hormone specialty), you have to be 
below the 5%ile to be "abnormal." Even now that is at 60' for an 
adult. ;)

Kat
<kat@redtrollforge.com>


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> First book: Theatrical Patterns by Holkeboer (yes, I know...UGH; group
> cringe, everybody!!)

Hey, it's better than Norris, Iris Brooks, Hill & Buchnell or others 
that supposedly have patterns (which don't hang like the ones they 
are supposed to look like). It may be theatrical but it's better than 
so many of the others that until you learn something about how they 
were actually made (since there aren't too many really good books on 
the market which do more than work on supposition).

Kat
<kat@redtrollforge.com>


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>  The problem is that we do look at celebrities for "normal". We are
>  constantly being bombarded with the likes of Calista Flockhart,
>  Courteney Cox, Laura Flynn Boyle...etc...

But they are also the ones under fire for looking "too skinny".

We get just as many women of substance.

However, most of the women who "look normal" on TV are actually 
smaller than the normal woman because the camera really does make you 
look bigger than you actually are. I've been amazed at some of the 
people I thought looked like they were pretty solid on TV or in 
pictures who look like a good wind would blow them away.

So, we look at women who look pretty normal but hear them complaining 
about how little they weigh and what small sizes they wear and think 
that to look that way in public we'd have to be that small. Nope. 
Just don't expect to look that way in pictures or on TV. But to those 
who meet you in person, you'll look small if you are just a size or 
two bigger than what the celebs wear.

Kat
<kat@redtrollforge.com>


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One?!? Just ONE?!?
Honey...I'm a librarian!
I can't choose just one!

Sheryl Nance-Durst
(reeling from the thought of weeding down her library to just ONE!)


At 10:14 AM 9/23/03 -0400, you wrote:
>Greetings all!
>
>This should be an interesting question:
>
>If you could choose one costuming book that you couldn't live without, what
>would it be?
>
>Sheridan



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Responded to privately.  But, we're all ok, thanks!

::Linda::
Virginia Beach
 
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of Penny Ladnier
Sent: Tuesday, September 23, 2003 5:06 PM
To: Historical Costume
Subject: Re: [h-cost] First and last books

Linda,

I was worried about you in VA Beach and Ron Cargarie in Williamburg.  How
did you make out with the hurricane?  I heard that you still have about
300,000 with out lights to.  When did you get your lights back?

Penny Ladnier



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My most recent would be _Dress in Detail from Around the World_
or _An Illustrated History of Hairstyles 1830-1930_.
I got them both recently as gifts, but I can't remember which was last.

As for the first costume book...
I'd have to say the _Banana Republic Guide to Travel & Safari Clothing_.
You know, from back when they were actually a surplus clothing store.
Lots of little historical details in that book that got me interested in the
history of clothing. I just about cried when they got bought by the Gap.


Sheryl Nance-Durst

At 11:03 AM 9/23/03 -0600, you wrote:
>My brain is being extra-weird today, and insisting on combining two
>recent threads (the busk one and the book one).
>My very first costuming book was a copy of Winter & Savoy, which I still
>have, although it's gone quite tattered
>My most recent purchase was _Textiles: 5000 Years_, edited by Jennifer
>Harris.
>What about the rest of you? What were your first, and most recent,
>costuming books?
>--sue
>_______________________________________________
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From: "Kass McGann" <historian@reconstructinghistory.com>
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Needless to say, we are going to take it easy for a while.  I decided
that I
am not going to hold an Online Costume Ball this year.  Too much stress
around here and we need to settle down. I just don't want to do a rush
job
and it turn out poorly.  I will have The Ball next year.  I hope
everyone
understands.  I know how much the people on h-costume enjoy it every
year.
>>>>
Of course we understand, Penny.  Take care of yourself.  Take care of
your family.  And we'll all be here when you get back.  =)

May the clouds over your house all be gone!

Kass

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Subject: Re: [h-cost] Re: Re: Average human size?
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<snip>
> same from Misses to Petite. The sleeve lengths of jackets are similarly no
> longer adjusted for the change in height. *sigh* When will they learn that
> not all of us have legs and arms that go on "forever"...

Well... sleeves tend to be on the short side on me. But if you're aware of
the problem, sleeve length is one of the things that can be adjusted fairly
easily, as long as the shoulders fit right. Length of rise is also harder to
adjust than, say, inseam length on a pair of pants. I always have to modify
a pattern anyway before I go at it: that's what you get for being
short-waisted :-)

> >Good question, but the current information coming out of the medical
> >community about height is that the men's average height has recently
> >been dropping.
> Well then maybe there's some hope that I won't spend *all* of my life
> looking straight forward... into men's belt buckles or below.

Pff... I'm lucky I wasn't drinking anything when I read this ;-)
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 1st and last books
Date: Tue, 23 Sep 2003 17:30:47 -0400
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The first was either Peacock or Hill and Bucknell.  I can't remember
which.  But both were real purchases.  They were bound photocopies.

The latest...  I think it was also Miss Mara's "Whatever Shall I Wear".
Mine was autographed.  =)  Come to think of it, I didn't buy that one
either.

But I bought a WHOLE LOT in between!

Kass

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"Kass McGann" <historian@reconstructinghistory.com> writes:

>The truth is that models (particularly runway models, who are the
>tallest and thinnest) are not supposed to be a representation of what a
>woman should look like.  They are supposed to be walking clothes hangers
>used solely for the purpose of displaying clothing in fashion shows.

And how does the *average* person tell whether or not a style will look 
good on her unless these clothes are shown on *average* bodies?
(I don't count anyone in this group as "average" in that manner, since if 
we're not looking at a style to fit a period regardless of modern 
aesthetics, we're familiar enough with our own bodies' idiosyncracies that 
our eyes can envision how the -- usually print or TV -- models' clothing 
will look on our own bodies.)

>It wasn't until the 1980s when runway models started becoming
>celebrities.  That's when I think we all got really confused...

I think what "confuses" people is that the height-weight charts keep 
getting adapted and changed to favor thinner and thinner bodies. Based on 
the Metropolitan Life height-weight charts for women or the BMI scales, I'd 
venture that any woman over a modern size 8 (RTW) -- possibly a 10 if we're 
being generous -- is considered "overweight" for her height.

(I will note for the record that the clothes I've most recently bought RTW 
-- sizes 10 and 12 -- are fitting nicely over measurements that by pattern 
company measurements should require sizes of 16MP/16-1/2 to 18MP/18-1/2. By 
the charts, I'm 10-20 lb over the high/large-frame weight-limit for my 
height -- and I have the flab and fat pockets to prove it.)

>The pattern and garment industries don't base their sizes on runway
>models.  They base their sizes on a statistical norm of the population.

So one would think... but then, why a 5' 6" Miss when the average height 
was 5' 3" or 5' 4"?

>Recently that norm has been revised in because we Americans are... um...
>"collectively changing shape" shall we say.

Revised in RTW only, or should I ignore the marked measurements on (mundane 
clothes) pattern envelopes and purchase the size I wear RTW?

>If the clothing you find on the rack is too big here or too tight
>there, it should be taken to a tailor (another thing our society has
>forgotten...).

Umm... not everything can be "tailored" to fit. For years and years I've 
had the problem of suit jackets that were too long in the back waist and 
too short in the front waist (DD and DDD cup bras when the average pattern 
was designed for B and C cups). Unless I made my own, there was no way I 
could find anything that fit properly.

>If they don't have your size, you need to shop elsewhere.

"Elsewhere" doesn't always work -- for women *or* for men. (My SO is big, 
but just a touch below "average" height for men... it's a living Hell 
trying to find him clothes that can be tailored to fit.)

>Men don't look at male models and beat themselves up for not looking like 
>them,

Depends on the age and self-described socioeconomic status of the man. I 
know at least a handful of straight, middle-aged men who do just that... 
and I can point to dozens of younger men who I do *not* know but who it's 
obvious do likewise. The rest of the men I know just ignore fashion 
altogether and wear the same things their fathers wore, 20-30 years ago.

>If men wore clothing made to fit these men, no one would be able to
>find clothes.

There are certain things that favor men being able to find clothes that fit:

(1) Pants sold by waist and inseam, with varying inseam lengths -- or sold 
with unfinished inseam (to be finished by the in-store tailor).
(2) "Big" and "tall" are different rises and cuts than the standard cut.
(3) Suits in Cadet, Extra-Short, Short, Regular, Long, Extra-Long, XX-Long, 
Portly, and Athletic.
(4) Shirts in varying sleeve lengths, also in Regular, Big, Tall, and 
Extra-Tall (though unfortunately not in "Big AND Tall/Extra-Tall", as one 
6' 4", size 8X, friend needs).
(5) In-store tailors in most better men's shops, with most standard 
alterations and finishing (sleeve cuffs, pants hems, etc.) provided gratis 
or near-gratis.
(6) Fewer style selections that change less frequently, therefore better 
economic incentives to service the short or tall segments of the population 
(though generally not the "big" segments of the population!).


"Wendy" <emmajean@myway.com> writes:

>The problem is that we do look at celebrities for "normal". We are 
>constantly being bombarded with the likes of Calista Flockhart, Courteney 
>Cox, Laura Flynn Boyle...etc...

And we are told that these people -- at least as we see them in the media 
(i.e., after allowing for the "photographer's 10-20 lb") -- are of healthy 
body shapes, fitness levels, and height-weight profiles, and therefore we 
should aspire to be the same if we want to be *healthy*.

>On the flip side, we also have incredibly sedentary lives and eat 
>over-processed fast and convenient food. How many billions of dollars do 
>the diet companies rake in every year?

I'd wager that it's no more than they'd rake in if we weren't leading 
sedentary lives and eating fast-food:  in every generation there is a fad, 
and there is a way of preying on people to make them believe that they need 
to eat differently in order to be healthy. (Consider Kellogg, of 
breakfast-cereal fame, for example.) The difference is that instead of 
emphasizing weight loss, they'll emphasize the "healthiness" of "no 
artificial additives or preservatives" (the whole health-food/organic diet 
craze of the 'seventies), or they'll emphasize the unhealthiness of eating 
fats, or the "ungodliness" of eating animal products, or something else 
like that...

>  I used to work in a vintage clothing shop and now work in a shop that 
> sells lingerie and there is a drastic difference in what constitutes 
> "average" size. If Marilyn Munroe lived in today's world, she'd be 
> shopping in the plus sizes.

Not necessarily. IIRC, she wore a Size 16 in the 1950's -- measurements 
equivalent to a pattern size 14 today. Given the size inflation in 
ready-to-wear (about 3 sizes, given that I measure 16-18 but wear 10-12), 
that means she'd be wearing about a Size 10 RTW today. The differences 
might be that she might need things custom made to fit her curves; almost 
everything today seems to be made for board-straight bodies or for bodies 
that curve in one dimension only (laterally).



Brenda
webwarren@earthlink.net


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Subject: Re: [h-cost] 1st and last books
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Sheryl,

I know what you mean.  Its is like saying which one is your favorite child.
All are my books are favorites for different reasons.  The day before the
hurricane we moved all my Delineator and Peterson collections out of my
sons' room to my bedroom.  We have a rotted tree near the boys' room that we
were scared it would fall.  The tree never moved all through the storm.
During the hurricane, my husband sat looking at the 100 ft. tall trees
twirling in circles outside our bedroom window.  He said, "I think you moved
the Delineators to the wrong room."

As to my latest additions, a 1890s Masquerque and Carnival Butterick Pattern
catalog (Kimiko's on the lookout for me).  Every page has two to three
images and almost 200 pages.  Also, two booklets from the Women's Institute
of Domestic Arts and Sciences, dated 1920, with embroidery stitches.  I love
this series and have several. I hope to teach a class on how to do these
stitches.

I also have to mention... I got on eBay, dirt cheap, a lot of ten magazines
published in the early 1990s called Vintage Fashions.  I love this
magazine... I wish it was still in publication.  Each magazine is all about
vintage fashions, nothing else.  I do wish the articles were longer.  I
brought them with me to Mississippi and while my mother was recovering she
looked them over.  She marked the pages for me to copy for her.  She really
loved the lace articles.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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From: Michelle Plumb <mplumb@wideopenwest.com>
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Subject: Re:[h-cost] expensive day
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Fess up, Bjarne.

How much did you spend?

I'm sure it was worth whatever you paid!
Michelle
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Subject: Re: [h-cost] da Vinci shoe article - NYTimes
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> > And thanks for calling me abnormal :-)
>
> Silly woman! Just because you are not "average" doesn't mean you are
> "abnormal."

Don't worry, that was just teasing... I hope you weren't offended or
anything... I was just having fun with size differences, and since I
wouldn't dare pulling someone else's leg, I was pulling mine... but the
Internet is not always the best for transmitting humour...
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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: Re:[h-cost] expensive day
Date: Wed, 24 Sep 2003 00:49:52 +0200
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Hi, and grinning to the devil!
Leif asked me the same, and i did not dare to tell him.
The Duchesse Satin costed me 785, kr. a meter, and i baught 8 meters in all.
785 is a little more than 100 dollars.
So i spended more than 800 dollars for 1 costume.
I have never done that before, even expensive clothes for myself, i have
never used that much!
The reason why i dared to do it was that i only spend half of my pocket
money on my holliday trip to Portugal this summer, and that was nice.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Michelle Plumb" <mplumb@wideopenwest.com>
To: <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 12:27 AM
Subject: Re:[h-cost] expensive day


> Fess up, Bjarne.
>
> How much did you spend?
>
> I'm sure it was worth whatever you paid!
> Michelle
> _______________________________________________
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: RE: [h-cost] Re: Re: Average human size?
Date: Tue, 23 Sep 2003 18:48:16 -0400
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And how does the *average* person tell whether or not a style will look 
good on her unless these clothes are shown on *average* bodies?
(I don't count anyone in this group as "average" in that manner, since
if 
we're not looking at a style to fit a period regardless of modern 
aesthetics, we're familiar enough with our own bodies' idiosyncracies
that 
our eyes can envision how the -- usually print or TV -- models' clothing

will look on our own bodies.)
>>>>
Not a clue.  I just know that somehow our mothers managed to.
>>>>
I think what "confuses" people is that the height-weight charts keep 
getting adapted and changed to favor thinner and thinner bodies. Based
on 
the Metropolitan Life height-weight charts for women or the BMI scales,
I'd 
venture that any woman over a modern size 8 (RTW) -- possibly a 10 if
we're 
being generous -- is considered "overweight" for her height.
>>>>
Actually, I think pharmaceutical companies have had a lot more to do
with those charts than you might imagine.  I say this because I've
worked for them and I also have personal experience with a friend who
was considered "obese" by one of these charts even though she was
actually far from it.  You see, you had to be statistically "obese" for
a doctor to justify prescribing this diet drug, so the pharmaceutical
companies change the charts.

I don't condone it.  I just explain it.
>>>>
(I will note for the record that the clothes I've most recently bought
RTW 
-- sizes 10 and 12 -- are fitting nicely over measurements that by
pattern 
company measurements should require sizes of 16MP/16-1/2 to 18MP/18-1/2.
By 
the charts, I'm 10-20 lb over the high/large-frame weight-limit for my 
height -- and I have the flab and fat pockets to prove it.)
>>>>
So the downward revision in the numbers of garment sizes makes you
happy.  Cool!  That was the garment industry's intent.
>>>>
So one would think... but then, why a 5' 6" Miss when the average height

was 5' 3" or 5' 4"?
>>>>
Because their clothing looks better on longer/taller bodies?  Garment
makers are not out there to represent the average.  They are out there
to sell their clothing.  If it looked better on someone short and stout,
they would use them as models.

I just don't see the malicious intent of "society" that so many people
do.  I just see a walking clothes-hanger that doesn't look like me.  And
so what?
>>>>
Revised in RTW only, or should I ignore the marked measurements on
(mundane 
clothes) pattern envelopes and purchase the size I wear RTW?
>>>>
Actually, the pattern industry has revised their measurements as well.
They just haven't moved the size numbers down.  I have a book of pattern
measurement charts from 1955 and the waist measurements are smaller by
two inches and the hips smaller by an inch with comparable pattern sizes
today.  But a size 10 still is the size with the 25" waist.  The size
numbers remained relatively constant.  The measurements were adjusted
because women no longer wear girdles, etc. as they did in the 50s.

Ready to wear decided to change all the numbers of the sizes.  My Mum
(who's in the garment industry) says this is to make people happy that
they are buying a smaller size.  But I don't know if that's the real
reason or not.  Could be.  All I know is that when I was 13, I was a 10
in ready to wear.  A few years later, I was a 6.  My measurements didn't
change.  The numbers just did.  But if you looked at the back of a
pattern, I was still a 10.
>>>>
Umm... not everything can be "tailored" to fit. For years and years I've

had the problem of suit jackets that were too long in the back waist and

too short in the front waist (DD and DDD cup bras when the average
pattern 
was designed for B and C cups). Unless I made my own, there was no way I

could find anything that fit properly.
>>>>
Well, that's yet another problem with consumers, not the industry --
people are no longer demanding long and petite sizing, so manufacturers
don't make them any more.  So you have your problem.  *I* wish there was
more variety in sizes too.  Yeah, I'm a small size and tall and I've
never had a problem with fit.  But I long for those days when you could
buy jackets by back waist and shoes in widths...

But because the majority of people want to buy jeans and T-shirts at the
Gap, no one is going to make tailored clothes in all those sizes.  I
personally think it sucks.  But I also know that the "casual menace" has
taken over our society.  =(
>>>>
"Elsewhere" doesn't always work -- for women *or* for men. (My SO is
big, 
but just a touch below "average" height for men... it's a living Hell 
trying to find him clothes that can be tailored to fit.)
>>>>
Oh, for the days that men's stores were everywhere and tailors were on
staff...
>>>>
Depends on the age and self-described socioeconomic status of the man. I

know at least a handful of straight, middle-aged men who do just that...

and I can point to dozens of younger men who I do *not* know but who
it's 
obvious do likewise. The rest of the men I know just ignore fashion 
altogether and wear the same things their fathers wore, 20-30 years ago.
>>>>
My husband is a very fashion-conscious man.  But he looks at the
clothing, not the shape of the man wearing it.  He doesn't sit around
and beat himself up because he doesn't have washboard abs...
>>>>
There are certain things that favor men being able to find clothes that
fit:

(1) Pants sold by waist and inseam, with varying inseam lengths -- or
sold 
with unfinished inseam (to be finished by the in-store tailor).
(2) "Big" and "tall" are different rises and cuts than the standard cut.
(3) Suits in Cadet, Extra-Short, Short, Regular, Long, Extra-Long,
XX-Long, 
Portly, and Athletic.
(4) Shirts in varying sleeve lengths, also in Regular, Big, Tall, and 
Extra-Tall (though unfortunately not in "Big AND Tall/Extra-Tall", as
one 
6' 4", size 8X, friend needs).
(5) In-store tailors in most better men's shops, with most standard 
alterations and finishing (sleeve cuffs, pants hems, etc.) provided
gratis 
or near-gratis.
(6) Fewer style selections that change less frequently, therefore better

economic incentives to service the short or tall segments of the
population 
(though generally not the "big" segments of the population!).
>>>>
Would that we had the same thing in women's stores...
>>>>
And we are told that these people -- at least as we see them in the
media 
(i.e., after allowing for the "photographer's 10-20 lb") -- are of
healthy 
body shapes, fitness levels, and height-weight profiles, and therefore
we 
should aspire to be the same if we want to be *healthy*.
>>>>
Oh puleeeeeeze!  I'm sure some of us have seen such people up close.
They look like death warmed over!  Their hair is even unhealthy!

All I'm trying to say is that we shouldn't blame anyone for our body
images.  If you don't think you should have to look like a model or a TV
celebrity, then don't.  You're perfect the way you are!

How's that for feelin' the love?

Kass

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> And how does the *average* person tell whether or not a style will look
> good on her unless these clothes are shown on *average* bodies?
> >>>>
> Not a clue.  I just know that somehow our mothers managed to.

Am I the only one thinking of those impossibly thin hand-drawn pattern cover
models? I liked those, they were pretty. They replaced them with real
models, because they're closer to the actual fit of the garment - and
actually, the models on top of the patterns are not usually the impossibly
thin type. They seem just normal to me. But I like to look at old pattern
covers, because they're pretty.
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From h-costume-bounces@indra.com  Tue Sep 23 19:06:27 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
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Hi all, I thought you might be interested in these images.  At first they
said they did not have any, but decided to scan them and put them up.  I
have a question in to them regarding if the tapered ones are meant for later
corsetry since they differentiate between Tudor/Elizabethan and others.
I'll let you know what they say.

Sg

-----Original Message-----
From: Information [mailto:info@grannd.com] 
Sent: Tuesday, September 23, 2003 9:11 AM
To: saragrace@earthlink.net
Subject: Busk Images

Hello,

Since you are not the first to ask, we finally did a scan of a few busks.
They are located at:

http://www.grannd.com/images/wood_straight_busk.jpg and
http://www.grannd.com/images/wood_taper_busk.jpg

and will be linked to their items soon.

Best regards,

Grannd Companies

> -----Original Message-----
> From: saragrace@earthlink.net [mailto:saragrace@earthlink.net]
> Sent: Monday, September 22, 2003 4:14 PM
> To: info@grannd.com
> Subject: Question
>
>
> Below is the result of your feedback form.  It was submitted by
>  (saragrace@earthlink.net) on Monday, September 22, 2003 at 13:13:51
> ------------------------------------------------------------------
> ---------
>
> Name: Saragrace Knauf
>
> questions: Are there pictures available somewhere of the ash wood
> busks appropriate for the Elizabethan and Tudor Corsets?  I don't
> see any links from the product numbers.
>
> Thanks
>
> Sg
>
> ------------------------------------------------------------------
> ---------
>
> HTTP_USER_AGENT: Mozilla/4.0 (compatible; MSIE 6.0; Windows NT
> 5.1; .NET CLR 1.0.3705)
> REMOTE_ADDR: 24.221.40.235
>



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From h-costume-bounces@indra.com  Tue Sep 23 19:11:20 2003
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Date: Tue, 23 Sep 2003 16:53:32 -0500
To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] Missing in Action
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Of course we understand!
A costume ball does not compare to what you've been through!
Just know that you have all of my good wishes and hopes
winging your way.  :-)

Sheryl Nance-Durst

t 04:59 PM 9/23/03 -0400, Penny wrote:
>Needless to say, we are going to take it easy for a while.  I decided that I
>am not going to hold an Online Costume Ball this year.  Too much stress
>around here and we need to settle down. I just don't want to do a rush job
>and it turn out poorly.  I will have The Ball next year.  I hope everyone
>understands.  I know how much the people on h-costume enjoy it every year.
>
>Penny Ladnier



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From h-costume-bounces@indra.com  Tue Sep 23 19:29:41 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: RE: [h-cost] Re: Re: Average human size?
Date: Tue, 23 Sep 2003 19:28:54 -0400
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Am I the only one thinking of those impossibly thin hand-drawn pattern
cover
models? I liked those, they were pretty. They replaced them with real
models, because they're closer to the actual fit of the garment - and
actually, the models on top of the patterns are not usually the
impossibly
thin type. They seem just normal to me. But I like to look at old
pattern
covers, because they're pretty.
>>>>
There's actually been some research done on pictures on pattern covers.
Apparently, if there's a photograph of a real person, the consumer feel
she cannot see herself in the garment.  But if there is an illustration
or a photograph of the outfit on a mannequin (and by that I mean a dress
dummy), the consumer is more likely to buy the pattern.  

Isn't that weird?  You would have thought the more realistic the photo,
the more inclined we would be to buy the pattern.  But the research
shows the contrary.

Audrey, I'm wondering if the reason they used to use those stylized
model illustrations on pattern cover was for precisely the same reason
-- that people didn't buy "real".  That style of drawing used to be in
fashion magazines too.

I'm a sucker for vintage patterns.  Not just for the clothes, but for
the design of the cover, etc.  Found a whole 2 boxes of them last month
that my neighbour was throwing away!

Kass

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From h-costume-bounces@indra.com  Tue Sep 23 19:30:37 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] FW: Busk Images
Date: Tue, 23 Sep 2003 19:30:05 -0400
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I've had one of grannd.com's tapered ash busks for years and it's
wonderfully sturdy.

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Saragrace T. Knauf
Sent: 23 September 2003 7:05 PM
To: h-costume@indra.com
Subject: [h-cost] FW: Busk Images

Hi all, I thought you might be interested in these images.  At first
they
said they did not have any, but decided to scan them and put them up.  I
have a question in to them regarding if the tapered ones are meant for
later
corsetry since they differentiate between Tudor/Elizabethan and others.
I'll let you know what they say.

Sg

-----Original Message-----
From: Information [mailto:info@grannd.com] 
Sent: Tuesday, September 23, 2003 9:11 AM
To: saragrace@earthlink.net
Subject: Busk Images

Hello,

Since you are not the first to ask, we finally did a scan of a few
busks.
They are located at:

http://www.grannd.com/images/wood_straight_busk.jpg and
http://www.grannd.com/images/wood_taper_busk.jpg

and will be linked to their items soon.

Best regards,

Grannd Companies

> -----Original Message-----
> From: saragrace@earthlink.net [mailto:saragrace@earthlink.net]
> Sent: Monday, September 22, 2003 4:14 PM
> To: info@grannd.com
> Subject: Question
>
>
> Below is the result of your feedback form.  It was submitted by
>  (saragrace@earthlink.net) on Monday, September 22, 2003 at 13:13:51
> ------------------------------------------------------------------
> ---------
>
> Name: Saragrace Knauf
>
> questions: Are there pictures available somewhere of the ash wood
> busks appropriate for the Elizabethan and Tudor Corsets?  I don't
> see any links from the product numbers.
>
> Thanks
>
> Sg
>
> ------------------------------------------------------------------
> ---------
>
> HTTP_USER_AGENT: Mozilla/4.0 (compatible; MSIE 6.0; Windows NT
> 5.1; .NET CLR 1.0.3705)
> REMOTE_ADDR: 24.221.40.235
>



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From h-costume-bounces@indra.com  Tue Sep 23 19:36:07 2003
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Date: Tue, 23 Sep 2003 18:33:31 -0500
From: Dawn <dawn@reddawn.net>
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Speaking of books, can anyone comment on this title?

'Costume & Fashion in Colour 1550-1760 by Ruth M.Green & Jack Cassin-Scott.'

I'm wondering if it is worth buying (cheap) or if it's another one of 
those awful '70's books with bad line drawings.



Dawn


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Subject: Re: [h-cost] expensive day
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Wow! *koff, koff* I wouldn't want to tell Leif, either, if I were you.
But how wonderful to find the perfect fabric for one of your wonderful
outfits!
--sue

Bjarne og Leif Drews wrote:
> 
> Hi, and grinning to the devil!
> Leif asked me the same, and i did not dare to tell him.
> The Duchesse Satin costed me 785, kr. a meter, and i baught 8 meters in all.
> 785 is a little more than 100 dollars.
> So i spended more than 800 dollars for 1 costume.
> I have never done that before, even expensive clothes for myself, i have
> never used that much!
> The reason why i dared to do it was that i only spend half of my pocket
> money on my holliday trip to Portugal this summer, and that was nice.
> 
> Bjarne
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> ----- Original Message -----
> From: "Michelle Plumb" <mplumb@wideopenwest.com>
> To: <h-costume@indra.com>
> Sent: Wednesday, September 24, 2003 12:27 AM
> Subject: Re:[h-cost] expensive day
> 
> > Fess up, Bjarne.
> >
> > How much did you spend?
> >
> > I'm sure it was worth whatever you paid!
> > Michelle
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
> _______________________________________________
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From: mlysett <mlysett@yahoo.com>
Subject: RE: [h-cost] Triangular busks
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  Several posts have wondered what Winter and Savory had to say about
busks.  I have quoted all of the text mentioning the busk.
  "A woman who could not have a whole corset would sometimes content
herself with putting a busk down the center of her bodice to stiffen it
and make her look more fashionable.  This will really only work well
for a bodice that laces up the back instead of the front.  Cut a
triangle about 2"-4" across the top and about 18" long (cut it longer
or shorter to fit your bodice).  The busk may be made out of boning,
hoop wire or metal strapping taped together, or it may be made out of
one piece of metal, wood or plastic.  Whatever it is made of should be
stiff, but not too thick.
  "Make a triangular pocket on the inside of your bodice to fit the
busk into.  Slip the busk into the pocket and stitch the opening
closed.  Since most of the materials listed above are not washable, we
suggest you remove the busk before washing the bodice.
  "Historically, the busk was the centermost piece of boning in a
corset.  It was shaped like a long thin triangle made of metal, wood or
ivory and was often beautifully carved.  When it was worn in the center
of a corset, it slipped into a pocket in the front and was held there
by a cord or ribbon which passed through two small holes in the busk
and in the top edge of the busk pocket.  The busk-string was sometimes
given to a gentleman as an intimate favor.  It has since develpoed into
the little bow found on the front of most brasierres."
There is no indication where this information came from specifically,
any none of the books in the bibliography are specifically on corsetry
or undergarments, so I can't dissern which books to look through from
there.
However, if you're interested in the full bibliography, please email me
privately.
Hope that helps,
Margaret

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The first book I loved was called, I think, "The Mode in Costume." I got it
out of our school library over and over again all through my elementary
school years, and just loved the pictures. A couple of years ago I bought a
reprint of it just because I had loved it so much -- it's packed away now so
I can't check the title. Anyway, I'm counting that even though I didn't own
it for a long time, just because of its long-lasting influence!

The last book I bought was The Medieval Tailor's Assistant LAST YEAR. Not
all of us buy hundreds of books! I want the little guide by The Medieval
Soldier folks, but I haven't gotten it yet. Very tight budget for hobbies
right now.

Gail Finke


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On Tuesday 23 September 2003 11:39 am, Bjarne og Leif Drews wrote:
> Dear list.
> I just want to burst a little, please forgive me but i must tell you.
> I have never spend that much money as i did today!
> I finally went to that shop i never visited before. It is in the
> countryside, and i had to take a cab some of the way to get there.
> They have more than 600 different silks to choose from, and their colour
> range is vast.

It sounds wonderful, Bjarne.  Enjoy!


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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On Tuesday 23 September 2003 11:29 am, Dawn wrote:
> Kass McGann wrote:
> > Medieval Finds from Excavations in London: 4 - Textiles and Clothing
> > circa 1150-1450 by Elisabeth Crowfoot, Frances Pritchard, and Kay
> > Staniland
>
> I notice there are at least 5 volumes in this series. What makes #4
> better than the others?

Not all of the volumes are costume-related.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Books
Date: Tue, 23 Sep 2003 22:01:44 -0400
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I dimly recall hearing "Cassin is awful," but I've never seen it in
person.

I wouldn't buy it unless you have a collection of awful costuming texts.
=)

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Dawn
Sent: 23 September 2003 7:34 PM
To: Historical Costume
Subject: Re: [h-cost] Books

Speaking of books, can anyone comment on this title?

'Costume & Fashion in Colour 1550-1760 by Ruth M.Green & Jack
Cassin-Scott.'

I'm wondering if it is worth buying (cheap) or if it's another one of 
those awful '70's books with bad line drawings.



Dawn


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Books
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On Tue, 23 Sep 2003, Kass McGann wrote:

> I dimly recall hearing "Cassin is awful," but I've never seen it in
> person.
> 
> I wouldn't buy it unless you have a collection of awful costuming
> texts. =)

I happen to keep a collection of awful costuming texts. (They're useful in
my lectures, where I trace the origins and development of costuming
myths.) If anyone has a Bad Costume Book they are planning on dumping,
please check with me first -- if I don't have it, I'd be delighted to add
it to my collection.

I just finished taking slides out of Bigelow, which was my college
textbook for a fashion history class. I knew it wasn't great then, but to
look at it now ... there's a 15th c. "dunce cap" hennin, impossibly long
with a point, sitting so far back on the head it's parallel to the ground,
and a big fluffy BOW tied around the point, with the ends of the bow
trailing down like a gift-wrapped package. And it's labeled "14th
century," to boot.

--Robin

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Books
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On Tuesday 23 September 2003 10:14 am, Sheridan & Shane wrote:
> Greetings all!
>
> This should be an interesting question:
>
> If you could choose one costuming book that you couldn't live without, what
> would it be?

Urk.  I'm not sure I even *can* choose only one book....

Let me think.  One costuming book I have that I couldn't live without.  
(There's several that I really think I *should* have but don't--that's 
another story.)

I'd say it would be  Compleat Anachronist pamphlet No. 59:   "Women's Garb in 
Northern Europe, 450-1000 C.E.:  Frisians, Angles, Franks, Balts, Vikings, 
and Finns," by Christina Krupp and Carolyn Priest-Dorman.   It is an 
extremely useful combination of factual summary of the relevant research with 
clear instructions on how to make a reasonable imitation of the garb 
described on a typical (limited) SCA member's budget.  And it has an 
absolutely wonderful bibliography--many of the items in which I have since 
added or am seeking to add to my costuming library.

I have attempted to make reproductions of most of the garb described in that 
pamphlet (with varying degrees of success).  That pamphlet, more than 
anything else, has turned my interests  more toward Dark Ages garb.  It also 
increased my previously minimal interest in attempting to achieve higher 
levels of authenticity in materials and construction.  

For $4.50 USD, that's quite an achievement.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Books
Date: Tue, 23 Sep 2003 22:48:33 -0400
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I happen to keep a collection of awful costuming texts. (They're useful
in
my lectures, where I trace the origins and development of costuming
myths.) If anyone has a Bad Costume Book they are planning on dumping,
please check with me first -- if I don't have it, I'd be delighted to
add
it to my collection.
>>>>
<snicker>  I do too!  I use them in my beginners' class on research.  I
call it "Good source.  Bad source."  =)
>>>>
I just finished taking slides out of Bigelow, which was my college
textbook for a fashion history class. I knew it wasn't great then, but
to
look at it now ... there's a 15th c. "dunce cap" hennin, impossibly long
with a point, sitting so far back on the head it's parallel to the
ground,
and a big fluffy BOW tied around the point, with the ends of the bow
trailing down like a gift-wrapped package. And it's labeled "14th
century," to boot.
>>>>
Oh... My....

=)

Kass

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At 7:28 PM -0400 9/23/03, Kass McGann wrote:
>Am I the only one thinking of those impossibly thin hand-drawn pattern
>cover
>models? I liked those, they were pretty. They replaced them with real
>models, because they're closer to the actual fit of the garment - and
>actually, the models on top of the patterns are not usually the
>impossibly
>thin type. They seem just normal to me. But I like to look at old
>pattern
>covers, because they're pretty.
>>>>>
>There's actually been some research done on pictures on pattern covers.
>Apparently, if there's a photograph of a real person, the consumer feel
>she cannot see herself in the garment.  But if there is an illustration
>or a photograph of the outfit on a mannequin (and by that I mean a dress
>dummy), the consumer is more likely to buy the pattern. 
>
>Isn't that weird?  You would have thought the more realistic the photo,
>the more inclined we would be to buy the pattern.  But the research
>shows the contrary.

There's a really peculiar tie-in to this phenomenon in the book 
"Understanding Comics" by Scott McCloud.  He points out the same 
observation with respect to comic strips: people are more likely to 
identify closely with characters done in more abstract/stylized 
drawing styles, whereas more realistically drawn comic strips tend to 
be perceived as "about someone else" rather than mapped onto the 
reader.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] First and last books
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I think I missed the underlying question here, but I'm guessing it 
from the responses.

I'm not sure I can remember what my first costume book was ... I've 
been doing this for over a quarter of a century (if you don't count 
early halloween costumes, but I didn't use books for them).  Since I 
didn't tend to start buying books (as opposed to using library books) 
until I was in college, I'm going to guess that the first costume 
book I owned was Blanche Payne's "History of Costume", which was the 
assigned textbook for a class I took on the topic as an undergraduate.

Latest ... hmm.  A pity I don't date-stamp the entries in my 
electronic card catalog, or it would be a cinch, but going by what 
hasn't been shelved yet, I suspect it must be a second-hand copy of 
Norah Waugh's "The Cut of Women's Clothes".

The one I couldn't do without?  Impossible question, unless I cheat 
outrageously and say, "the book I'm going to write on the cut of 
surviving pre-modern garments".

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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On Tuesday 23 September 2003 03:45 pm, Linda Rice wrote:
> Sheridan, may I ask where you got your copy of Hald? I seem to recall that
> it had been reprinted, but for the life of me I can't remember the details
> of it. (Was I dreaming? It's certainly possible!) I've looked at the used
> dealers, but lately it's been way overpriced. Anybody know where to get the
> Danish Textiles book?


 I got mine used from Pastiche, Inc. in Oregon, having located it via an 
addall.com search.  You're right, though, it wasn't cheap--my copy cost $100 
USD.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Michelle Plumb <mplumb@wideopenwest.com>
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Geez, Bjarne!

I think that's more than reasonable for high-quality silk!  
It only comes to about 10 dollars a meter.

I can't wait to see you in your beautiful outfit.  Take lots of pictures!

Michelle
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   I've received lots of good advice on here, so now it's time to go to
the fabric store. The question is, does there exist a one-stop-shop
online for good period fabrics? My guideline for this round of clothing
is King James' highland wardrobe, as recorded by his own treasurer.

Short highland jacket    2 1/4 ells vari-colored velvet
                                    3 ¼ ells green taffeta lining

Tartan trews                   2 ells highland tartan

Long highland shirt           15 ells linen
                                          2 ounces silk thread
                                          4 ells ribbons for wrists of
shirt
As to how some of this would appear in final form, I'm still a but
unsure (but I am listening).  :o)



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On Tuesday 23 September 2003 10:01 pm, Kass McGann wrote:
> I dimly recall hearing "Cassin is awful," but I've never seen it in
> person.
>
> I wouldn't buy it unless you have a collection of awful costuming texts.
> =)

I haven't seen the particular book Dawn asked about, but I have seen other 
books where Cassin (Cassin-Scott I think it is, actually) was an author, and 
the colors were not only non-historical, they were so garish to make me 
nauseous.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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On Tuesday 23 September 2003 04:08 pm, Sheridan & Shane wrote:
> Linda Rice wrote:

>> Anybody know where
> > to get the Danish Textiles book?

[SNIP]

> I bought it new almost two years ago, for $117 dollars Canadian in
> Saskatoon, Saskatchewan. I had ordered it from a small local bookstore that
> was willing to bring in 'odd' orders. As it was they called me back twice
> before they placed the order to make sure I really wanted to spend that
> much on a book. :-)

>[SNIP]
> The main reason I had decided to purchase for that rather hefty sum, was
> that I couldn't get my hands on it any other way. I'm sure if you shop
> around you should be able to get a better deal, it is in print.

Is it?  I was under the impression that it is not, in fact, in print.  Or at 
least that the English language edition is not (the original was of course in 
Danish).

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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On Tuesday 23 September 2003 05:32 pm, Sheryl Nance-Durst wrote:
[snip]
> I'd have to say the _Banana Republic Guide to Travel & Safari Clothing_.
> You know, from back when they were actually a surplus clothing store.
> Lots of little historical details in that book that got me interested in
> the history of clothing. I just about cried when they got bought by the
> Gap.


I remember the days when Banana Republic was still controlled by Mel and Pat 
Ziegler.  Most of my wardrobe (and my husband's) at the time came from there!

Yes, I was sad when the Gap acquired them too.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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I'm always keeping an eye out for a copy myself; I'd like to have the whole
book someday.  Anyway, there's a copy on offer at www.abebooks.com for
$131.33 US.
(Not currently in my price range...)
              -Aidan


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] da Vinci shoe article - NYTimes
Date: Tue, 23 Sep 2003 23:35:09 -0400
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On Monday 22 September 2003 10:03 pm, Audrey Bergeron-Morin wrote:
> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
>
> > The Abbey Museum of Art and Archaeology in Australia has a shoe from Mary
> > Queen of Scots, late 16th century.  see
>
> www.thrednedlestrete.com/extant.htm
>
> > .  A low heel and VERY small, like a modern US size 4 would be my guess.
>
> Well, a US size 4 is not that small, I'm 5'3" and I wear a size 5. My mom
> is 5'2" and wears a size 4. And weren't people "back then" supposed to be
> slightly smaller than us?


Um, there's an assumption here that a shorter than average person would have 
smaller than average feet.

Even today, that's not always so.  I am 5' 1" and wear a US size 7 C shoe. 
(That comes to a European size 37, I think).   My cousin Ann, who  is few 
inches taller (and significantly heavier) than me wears a US size 6 A.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] da Vinci shoe article - NYTimes
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On Tuesday 23 September 2003 03:45 pm, Audrey Bergeron-Morin wrote:
> > Most people assume that people "back then" were much smaller because
> > the average during the Victorian age was 5'1 1/4" (156 cm).
>
> I know very well those facts, but you also confirm what I said, being that
> they were *slightly* smaller... I didn't say much smaller, and not even
> smaller, just *slightly* smaller, and according to your numbers, they were.
> I've been on this list long enough to be warned about those matters.

Bear in mind too  that "average" in this context is "arithmetic" average.  In 
other words, the figure is low because there were (proportionately speaking) 
more people around at the low end of the size scale than there are today.  
That doesn't mean that there weren't very large people, and people we'd 
consider average size, just as there are today.  For example, Henry VIII and 
Thomas Jefferson were both over 6 feet tall.

If anyone doubts this, check out on-line sellers of vintage costume, who come 
up from time to time with period garments that are of a "modern" wearable 
size.  (I've even seen some that would be wearable by larger women--I 
remember seeing a dress from the '20's on a site the other day sized for a 
woman with a 42 inch bust.)



> And thanks for calling me abnormal :-) With a father that weighed 130
> pounds and a mom that weighed around 90 when they got married, I just can't
> help being a little out of average. 

I don't know what my dad weighed when my parents got married, but *my* mom was 
90 pounds also.  Dad was 5' 3", but grew several inches in height afterward, 
and Mom was 5' 2".



-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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----- Original Message -----
From: "Helen Pinto
> I'm always keeping an eye out for a copy myself; I'd like to have the
whole
> book someday.  Anyway, there's a copy on offer at www.abebooks.com for
> $131.33 US.
> (Not currently in my price range...)
>               -Aidan


Wow guys, I don't know what to tell you, when I bought my book it was in
print, my bookstore would have said otherwise. A friend of mine bought her
copy last year, also new, from a regular bookstore in her city.

Suddenly I am thinking the price I paid for it wasn't so bad after all.

I have a friend who is in publishing, perhaps I can get a definitive answer
from her...

Sheridan



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At 11:28 PM 9/23/2003 -0400, you wrote:
>I'm always keeping an eye out for a copy myself; I'd like to have the whole
>book someday.  Anyway, there's a copy on offer at www.abebooks.com for
>$131.33 US.
>(Not currently in my price range...)
>               -Aidan

Oh, dear, now I feel old. I bought Hald when I found the English 
translation (when I first heard about the book it had not yet been 
translated) in the early 1980s. My copy is marked $45.95 and that was an 
expensive book when I bought it. So, actually, the $100+ price is not 
unreasonable; book prices have increased a great deal in the last 20 years 
or so.  And it's a wonderful book; I don't remember how many times I have 
read it.



Joan Jurancich
joanmj@surewest.net

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On Tuesday 23 September 2003 04:59 pm, Penny Ladnier wrote:
> I like Bjarne have been missing in action too. 

[description of misfortunes snipped]

 
> We have been joking that my life is becoming a country and western song.  I
> hope the hurricane pushed all the dark clouds from over my house.  Things
> are starting to look brighter this week, even with the power surges and
> intermittent internet service.  After two months of being on digest version
> on the email lists, I am finally receiving the lists live again.

So do we.  But you've made it through, Penny--that's the main thing.  Hold 
that thought.


>
> Needless to say, we are going to take it easy for a while.  I decided that
> I am not going to hold an Online Costume Ball this year.  Too much stress
> around here and we need to settle down. I just don't want to do a rush job
> and it turn out poorly.  I will have The Ball next year.  I hope everyone
> understands.  I know how much the people on h-costume enjoy it every year.

I will miss it myself.  But I understand that life sometimes prevents us from 
doing what we'd like, or what is most fun.  

Hope you're in a better situation next year!

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Subject: Re: [h-cost] 1st and last books
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Oh, I just bought a few booklets on dress construction put out by the
Women's Institute! I was considering making my first 20's dress and
thought they'd be useful.

Sheryl N-D

At 05:52 PM 9/23/03 -0400, Penny wrote:
>  Also, two booklets from the Women's Institute
>of Domestic Arts and Sciences, dated 1920, with embroidery stitches.  I love
>this series and have several. I hope to teach a class on how to do these
>stitches.
>
>Penny Ladnier



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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On Tuesday 23 September 2003 01:14 pm, kat@grendal.rain.com wrote:
> > My brain is being extra-weird today, and insisting on combining two
> > recent threads (the busk one and the book one). My very first
> > costuming book was a copy of Winter & Savoy, which I still have,
> > although it's gone quite tattered My most recent purchase was
> > _Textiles: 5000 Years_, edited by Jennifer Harris. What about the rest
> > of you? What were your first, and most recent, costuming books? 

Oh, my.  

Do you mean, "What were your first, and most recent, costuming book 
purchases?"  Or do you mean "What were the first, and most recent, costuming 
books you've read?"

I no longer remember which was the first costuming book I purchased; there 
have been so many.    However, I remember the first costuming book I read; it 
was the Cunningtons' Handbook of English Medieval Costume, which I borrowed 
from the local public library.

Conversely, I can't really say what the most recent costuming book I've 
read/am reading, since I usually have at least half a dozen I'm reading 
simultaneously.  But I can tell you the last one I bought.  It's an old 
museum catalogue:  "Weaving China's Past:  the Amy S. Clague Collection of 
Chinese Textiles," published by the Phoenix Art Museum.  I bought it because 
I saw it on addall.com for about half the price it was shown at elsewhere, 
and because I was hoping it would have information about the kinds of textile 
designs that were typical of the Warring States Period.  (A friend of mine 
claims he's writing a live-action role playing game set in China in the 
Warring States period, and if he ever finishes it, I want to be able to show 
up in the right costume.)  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Hi, All. My apologies if I haven't gotten back to anyone recently, the 
Infernal Machine has been offline with various problems. I'm certainly 
no shoe expert, but I think that piece has been mislabelled. It 
certainly looks like an 18th Cent shoe to me. The "latchets", or where 
you would tie the shoe are wide and overlapping, like those worn in the 
late 18th Cent. with large decorative buckles. For the late 16th Cent., 
it is certainly not a *low* heel. There is no way of using those 
"latchets" for fastening the shoe, save that of the buckle, and although 
buckles of some forms were used on shoes prior to the late 16th Cent., 
they had gone out of fashion until the 1660s, when they reappeared, 
fairly small, and increased in size as time went on. Latchet shoes 
(ties) were still worn at the same time that buckles came back into 
fashion, though. There are plenty of extant 16th Cent. shoes out there. 
Kass, or anyone else, I will give you a biblio if you want. The most 
recent published work is by Olaf Goubitz (edited, actually), and there 
is a selection from N America in the Oxbow "Archaeology of Wrecks" book. 
Goubitz shows the women's shoes, though. The N American ones were from a 
wreck in Newfoundland (Basque sailors, probably not any women). Though 
not of any historical consequence, *my opinion* is that heels (the 
separate variant, not to be confused with platform shoes such as 
chopines) came to Western Europe by way of Eastern Europe, where they 
are seen on boots of variants used by riders (Poles, Tartars, Cossacks, 
Turks and the like), most probably to help keep the foot from sliding 
through the stirrup (a sort of catch), at a slightly earlier time than 
when they became fashionable in the West. This is a simplified solution, 
much like the one I have posited for coats having become longer 
throughout the 17th Cent. due to Eastern influences (The hongreline, 
cassock and greatcoat merging into the later coat of the late 17th/early 
18th cent.) which, I have been assured is an oversimplification of the 
issue ;). You can look at illustrations of Eastern European men from the 
late 16th Cent. (Vecellio 1596, Turkish independent Bravo # 374 in Dover 
book or #403 Hungarian costume, or Turnau "History of Dress in Central 
and Eastern Europe..."  pg 73 illo 22 "Two Polish Noblemen" dated 1572) 
to see the shoe style. These are not a stacked heel, as in later shoe 
styles, but almost a wedge or lift forming in the heel, giving an arched 
profile to the instep, similar to the "Elizabeth" buskins.  Hope this 
helps, Mike T.


>  
>

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I think you misunderstood him.  It was 785 kroner per metre, or about
$100/meter.
It must be phenomenal stuff at that price!
--sue

Michelle Plumb wrote:
> 
> Geez, Bjarne!
> 
> I think that's more than reasonable for high-quality silk!
> It only comes to about 10 dollars a meter.
> 
> I can't wait to see you in your beautiful outfit.  Take lots of pictures!
> 
> Michelle
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Subject: [h-cost] Website for good quality faux furs
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Saw the catalogue these guys produce, and was curious enough to google
around and see if they had a website.
Now, they're *definitely* not cheap, but they do sell by the yard, and
they have some lovely-looking stuff.  I'd always liked the idea of doing
something (maybe a 1540s English gown with big sleeves, as in that
portrait that used to be thought of as Lady Jane Grey) involving fur or
a good substitute. Since most of us don't have access to real furs, and
some may not wish to support that particular industry, these guys seem
like a not-bad alternative to bring to your attention.
--sue
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Sorry, what was this in reference to? You didn't include the link so you
must have either left it off or figured we'd remember what email you are
referring too;)

I'm very interested, so could you please pass on the link?

michaela
http://costumes.glittersweet.com

> Saw the catalogue these guys produce, and was curious enough to google
> around and see if they had a website.
> Now, they're *definitely* not cheap, but they do sell by the yard, and
> they have some lovely-looking stuff.  I'd always liked the idea of doing
> something (maybe a 1540s English gown with big sleeves, as in that
> portrait that used to be thought of as Lady Jane Grey) involving fur or
> a good substitute. Since most of us don't have access to real furs, and
> some may not wish to support that particular industry, these guys seem
> like a not-bad alternative to bring to your attention.
> --sue
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Date: Wed, 24 Sep 2003 09:03:26 +0100
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Subject: Re: [h-cost] Queen of Scots shoe?? was: da Vinci shoe article
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Kate Bunting
Library, University of Derby

>>> audreybmorin2@hotmail.com 09/23/03 08:48pm >>>
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
> I was interested to learn that, at 5'2", I'm not much below the
average
> size for British women. My shoe size is 5, which used to be the
> commonest, but I believe that is now size 6.

>Hmm, is that UK sizes or US sizes? Because a UK3 is about a US5... 

Yes, I realised from subsequent comments that US shoe sizes must be
different from UK ones. UK 5 is European 38.
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] 1st and last books
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 --- Theresa Eacker <theresa@misc.com> wrote: > First book: Theatrical Patterns
by Holkeboer (yes, I know...UGH; group 
> cringe, everybody!!)

Why????? It is a LOVELY book for exactly what it says on the cover: theatrical
patterns.
I made some really nice history inspired clothes for every day wear from those
patterns.

Nicole

=====
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http://www.kipar.org/society/author/pirates/

Email: nicole@kipar.org
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At 06:25 PM 9/22/2003 -0700, you wrote:
>The Abbey Museum of Art and Archaeology in Australia has a shoe from Mary
>Queen of Scots, late 16th century.  see www.thrednedlestrete.com/extant.htm
>.  A low heel and VERY small, like a modern US size 4 would be my guess.  I
>see quite a few 16th century leather possible turnsole shoes on the
>antiquities market, but not much else.
>
>Lisa Sinervo


Hi all,

I am catching up on days of emails, and still haven't finished. Maybe 
tomorrow sometime.

Hmmm... all this talk about shoe sizes, modern or otherwise. My sleepy mind 
however recalls comments that Mary, QoS was a tall woman, although I would 
have to look up just how tall. Not sure how that fits into the commentary 
or equation of *when* this shoe belongs.

I too am curious about more info on this shoe. I have a thing for Mary QoS.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] expensive day
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 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > 
> However the embroidery was quite fashionable.
> The silver lace i make for this, is a little similar to your baroque dress.
> But i changed the pattern and made it more round and curved. I hope you dont
> mind i use it!

Not at all, of course not!!!!

> Now the best part of all that work i am going to do is drawing a pattern for
> the embroidery. This time i will use more colour than i did in the first
> jacket.
> Oh i cant waite to start!

It sounds wonderful!

> Thanks for your good advises Nicole!

You are most welcome.

Looking forward to see pictues of your progress

Nicole

=====
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http://www.kipar.org/society/author/pirates/

Email: nicole@kipar.org
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Subject: [h-cost] embroidered stomacher is finished
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Hi.
Yesterday evening i finished the stomacher, and i think you would like to
see it!
http://www.my-drewscostumes.dk/helmspatterns.htm


Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Wed, 24 Sep 2003 10:25:48 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] embroidered stomacher is finished
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The stomacher is exquisite, Bjarne! 
I've started on an experimental piece of stumpwork (a small panel for
the lid of my woodwind reed case), but I'm sure it won't be anything
like so fine as your work.

Kate Bunting
Library, University of Derby

>>> drewscph@post12.tele.dk 09/24/03 10:06am >>>
Hi.
Yesterday evening i finished the stomacher, and i think you would like
to
see it!
http://www.my-drewscostumes.dk/helmspatterns.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  Wed Sep 24 05:29:38 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] embroidered stomacher is finished
To: Historical Costume <h-costume@indra.com>
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 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Hi.
> Yesterday evening i finished the stomacher, and i think you would like to
> see it!
> http://www.my-drewscostumes.dk/helmspatterns.htm
> 
>Lovely as ever!!!!

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

Email: nicole@kipar.org
URL: http://www.kipar.org

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] embroidered stomacher is finished
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Jummie..
That is beautiful!

I wish I had more time to work on my big embroidery project.
But last saturday I worked on my forepart at a "medieval" market and got 
payed for doing it too :-) .
I think I got a lot of people inspired. It was so much fun sitting in 
the sun working and talking to many interested people.

Greetings,
        Deredere

Bjarne og Leif Drews wrote:

>Hi.
>Yesterday evening i finished the stomacher, and i think you would like to
>see it!
>http://www.my-drewscostumes.dk/helmspatterns.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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Subject: Re: [h-cost] embroidered stomacher is finished
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It's beautiful, Bjarne. As always!

Dianne
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 5:06 AM
Subject: [h-cost] embroidered stomacher is finished


> Hi.
> Yesterday evening i finished the stomacher, and i think you would like to
> see it!
> http://www.my-drewscostumes.dk/helmspatterns.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  Wed Sep 24 08:38:15 2003
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Bjarne wrote:

> This wedding suit is going to be trimmed with silver bobbin lace and
then it
> shall be embroidered off cause!!!
>

And it will, of course, be ready for the Bath Ball in the spring!

And I shall see it, and you, in all your glory. Gloat, gloat:-)

I think I must start work on a same period gown, but I'm a bit wary of
telling Bella about this. I suspect that she will insist that she will
partner you, and I can be her chaperone, on the grounds that well
brought up girls always had a chaperone, and she dances much better
than I do. All of which is true, alas.

So, any recommendations on what a chaperone around 1770 would have
worn?

best wishes

Stevie



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Website for good quality faux furs
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Oh, gawd, I'm sorry.  Here's the link:
http://fabulousfurs.com/search.asp?t=c&c=9
Thanks, Michaela!
--sue, slinking away in embarrassment....

michaela wrote:
> 
> Sorry, what was this in reference to? You didn't include the link so you
> must have either left it off or figured we'd remember what email you are
> referring too;)
> 
> I'm very interested, so could you please pass on the link?
> 
> michaela
> http://costumes.glittersweet.com
> 
> > Saw the catalogue these guys produce, and was curious enough to google
> > around and see if they had a website.
> > Now, they're *definitely* not cheap, but they do sell by the yard, and
> > they have some lovely-looking stuff.  I'd always liked the idea of doing
> > something (maybe a 1540s English gown with big sleeves, as in that
> > portrait that used to be thought of as Lady Jane Grey) involving fur or
> > a good substitute. Since most of us don't have access to real furs, and
> > some may not wish to support that particular industry, these guys seem
> > like a not-bad alternative to bring to your attention.
> > --sue
> > _______________________________________________
> > 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: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] embroidered stomacher is finished
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Bjarne,  Wonderful work!   Bridgette

>Hi.
>Yesterday evening i finished the stomacher, and i think you would like to
>see it!
>http://www.my-drewscostumes.dk/helmspatterns.htm
>
>
>Bjarne

Mari Stewart
Cornell University


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From h-costume-bounces@indra.com  Wed Sep 24 09:25:48 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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	<5.2.1.1.0.20030924014929.02878968@64.87.54.245>
Subject: Re: [h-cost] da Vinci shoe article - NYTimes
Date: Wed, 24 Sep 2003 06:25:51 -0700
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I've sent the museum director an email and am waiting for a response too.
The shoe never struck me as renaissance looking, but I was more interested
in the medieval time period at the time I saw it. I asked for the history
and measurements too.  The basic shape of the shoe matches 16th century
images, but the fastening does not and the fabric pattern doesn't quite fit
either.

The British Museum did quite a bit of work with the Abbey and their
collections, (to my knowledge) so I really didn't question my, I don't think
this is right feeling, as in, who am I to know?

I'll give you the update when I get a response.

Cheers,

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 1:52 AM
Subject: Re: [h-cost] da Vinci shoe article - NYTimes


> At 06:25 PM 9/22/2003 -0700, you wrote:
> >The Abbey Museum of Art and Archaeology in Australia has a shoe from Mary
> >Queen of Scots, late 16th century.  see
www.thrednedlestrete.com/extant.htm
> >.  A low heel and VERY small, like a modern US size 4 would be my guess.
I
> >see quite a few 16th century leather possible turnsole shoes on the
> >antiquities market, but not much else.
> >
> >Lisa Sinervo
>
>
> Hi all,
>
> I am catching up on days of emails, and still haven't finished. Maybe
> tomorrow sometime.
>
> Hmmm... all this talk about shoe sizes, modern or otherwise. My sleepy
mind
> however recalls comments that Mary, QoS was a tall woman, although I would
> have to look up just how tall. Not sure how that fits into the commentary
> or equation of *when* this shoe belongs.
>
> I too am curious about more info on this shoe. I have a thing for Mary
QoS.
>
> Kimiko
>
>
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
>
> _______________________________________________
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From h-costume-bounces@indra.com  Wed Sep 24 09:29:24 2003
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From: "Signora Apollonia Margherita degli Albizzi" <apollonia@bellsouth.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Website for good quality faux furs
Date: Wed, 24 Sep 2003 09:29:24 -0400
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Gosh, those prices are outrageous!  $99 for a yard of fake lynx
fur...yeesh...

Apollonia

Signora Apollonia Margherita degli Albizzi

Seneschal of the Incipient Canton of Salesberie Glen
Kingdom of Atlantia
www.livejournal.com/users/apollonia

**La vita senz'onore e un viver morto.**



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sue Clemenger
Sent: Wednesday, September 24, 2003 9:16 AM
To: Historical Costume
Subject: Re: [h-cost] Website for good quality faux furs


Oh, gawd, I'm sorry.  Here's the link:
http://fabulousfurs.com/search.asp?t=c&c=9
Thanks, Michaela!
--sue, slinking away in embarrassment....


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From h-costume-bounces@indra.com  Wed Sep 24 09:40:53 2003
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Period Fabrics
To: Historical Costume <h-costume@indra.com>
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http://www.fabric.com
http://www.srfabrics.com  
I would suggest you use cotton velvet or cotton
velveen
INSTEAD of polyester or rayon velvet. It will be
cooler and will wear better. For the Tartan, I would
try some of the clan association websites, even if
you're not looking for a particular tartan. Sometimes
they have discounted prices for the lighter weight
wools.
http://www.clanirwin.org



 --- Joe Robertson <joedr@charter.net> wrote: >   
I've received lots of good advice on here, so now
> it's time to go to
> the fabric store. The question is, does there exist
> a one-stop-shop
> online for good period fabrics? My guideline for
> this round of clothing
> is King James' highland wardrobe, as recorded by his
> own treasurer.
> 
> Short highland jacket    2 1/4 ells vari-colored
> velvet
>                                     3 ¼ ells green
> taffeta lining
> 
> Tartan trews                   2 ells highland
> tartan
> 
> Long highland shirt           15 ells linen
>                                           2 ounces
> silk thread
>                                           4 ells
> ribbons for wrists of
> shirt
> As to how some of this would appear in final form,
> I'm still a but
> unsure (but I am listening).  :o)
> 
> 
> 
> _______________________________________________
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=====
Aurum peccamenes multifariam texit

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From h-costume-bounces@indra.com  Wed Sep 24 09:52:19 2003
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From: "Signora Apollonia Margherita degli Albizzi" <apollonia@bellsouth.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Website for good quality faux furs
Date: Wed, 24 Sep 2003 09:52:19 -0400
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But I do like their "Kitty Hammock" under the Pets section...

Apollonia

Signora Apollonia Margherita degli Albizzi

Seneschal of the Incipient Canton of Salesberie Glen
Kingdom of Atlantia
www.livejournal.com/users/apollonia

**La vita senz'onore e un viver morto.** 


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sue Clemenger
Sent: Wednesday, September 24, 2003 9:16 AM
To: Historical Costume
Subject: Re: [h-cost] Website for good quality faux furs


Oh, gawd, I'm sorry.  Here's the link:
http://fabulousfurs.com/search.asp?t=c&c=9
Thanks, Michaela!
--sue, slinking away in embarrassment....


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From h-costume-bounces@indra.com  Wed Sep 24 09:55:12 2003
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Subject: [h-cost] Re: 1st and last books
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> First book: Theatrical Patterns by Holkeboer (yes, I know...UGH;
group
> cringe, everybody!!)

Hey, it's better than Norris, Iris Brooks, Hill & Buchnell or others 
that supposedly have patterns (which don't hang like the ones they 
are supposed to look like). It may be theatrical but it's better than 
so many of the others that until you learn something about how they 
were actually made (since there aren't too many really good books on 
the market which do more than work on supposition).

Kat
>>>>>>>>>>>>>>>>>>>>>>>>>>

I have found Holkeboer handy to help first time costumers visualize
pattern layout and to start them thinking about working without a net
(ie; commercial pattern).  And as it was a present (my madien name is
Strand so one of my sisters felt I just *had* to have it), I don't have
to feel quilty for putting it the shelf next to Arnold, Davenport and
the others :).  

Catherine

Glad to hear folks managed to ride out Isabel and best of luck on the
lights.  As a survivor of several ice storms that knocked out power for
days in the middle of winter, if you can, beg/borrow a generator!
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Subject: Re: [h-cost] Website for good quality faux furs
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Signora Apollonia Margherita degli Albizzi wrote:
> Gosh, those prices are outrageous!  $99 for a yard of fake lynx
> fur...yeesh...

It's getting close to Halloween here in the USA and many stores will 
have fake fur, most of which is icky, but I've had good luck at Hancock 
Fabrics.  I got some "mink" that looks just like the $99 stuff from this 
website, for probably $15/yard.  It is fun to stroke, unlike the cheap 
stuff -- let your hands do the "looking" for you!

Here's the pictures about the huge houppelande that I lined with the 
stuff.  In retrospect, I think the fur should have been thinner/more 
flexible than the very plump "mink" style, but live and learn....

http://www.virtue.to/articles/laurel/laurel_constr.html

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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From h-costume-bounces@indra.com  Wed Sep 24 10:08:26 2003
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From: Jen Small <jenrsmall@yahoo.com>
Subject: Re:[h-cost] expensive day
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No actually he was saying it was $100/yd, which is not super outrageous for high quality silk!

Michelle Plumb <mplumb@wideopenwest.com> wrote:Geez, Bjarne!

I think that's more than reasonable for high-quality silk! 
It only comes to about 10 dollars a meter.

I can't wait to see you in your beautiful outfit. Take lots of pictures!

Michelle
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> Here's the pictures about the huge houppelande that I lined with the
> stuff.  In retrospect, I think the fur should have been thinner/more
> flexible than the very plump "mink" style, but live and learn....
> http://www.virtue.to/articles/laurel/laurel_constr.html
> Cynthia Virtue and/or
> Cynthia du Pré Argent

Oh, wow. I want one :-)

(Mental note to self... -- should stop adding projects to the list, because
you already have enough things to go 15 years or so...)

Ehehe :-)
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>>If Marilyn Munroe lived in today's world, she'd be
>> shopping in the plus sizes.

Ahh Google. Gotta love it:
http://www.jessicaseigel.com/marilyn.shtml


- Hope

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From h-costume-bounces@indra.com  Wed Sep 24 10:22:44 2003
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Subject: Re: [h-cost] embroidered stomacher is finished
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Yummy! I'll take a dozen.

Now, where's the gown that goes around it?  ;-P

Have you decided how and with what you are going to actually make the 
stomacher? A scrap of wonderful block printed cotton for the back [as seen in "What 
Clothes Reveal]? Boned or unboned? A turned edge, bound edge? Tabs at the 
point....with matching embroidery of course?

You do the BEST work! I love following your projects.....and nagging you 
about details.  
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From h-costume-bounces@indra.com  Wed Sep 24 10:26:51 2003
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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] Period Fabrics
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For the linen, I recommend
http://www.fabrics-store.com

They have really good prices and have a variety
of weights. They'll also send you free swatches
to help you decide which linen you want.
I've been quite satisfied with them in the past.
I know it's not the one-stop-shop you asked about,
but you can really save a lot of money on the
linen.

Sheryl Nance-Durst

At 02:38 PM 9/24/03 +0100, you wrote:

>  --- Joe Robertson <joedr@charter.net> wrote: >
>I've received lots of good advice on here, so now
> > it's time to go to
> > the fabric store. The question is, does there exist
> > a one-stop-shop
> > online for good period fabrics? My guideline for
> > this round of clothing
> > is King James' highland wardrobe, as recorded by his
> > own treasurer.
> >
> > Long highland shirt           15 ells linen
> >                                           2 ounces
> > silk thread
> >                                           4 ells
> > ribbons for wrists of
> > shirt



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You are still the master!

Sheryl N-D

At 11:06 AM 9/24/03 +0200, Bjarne wrote:
>Hi.
>Yesterday evening i finished the stomacher, and i think you would like to
>see it!
>http://www.my-drewscostumes.dk/helmspatterns.htm
>
>
>Bjarne
>



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Hope Greeenberg wrote:
>>> If Marilyn Munroe lived in today's world, she'd be
>>> shopping in the plus sizes.
> 
> Ahh Google. Gotta love it:
> http://www.jessicaseigel.com/marilyn.shtml

Cool!  Thanks, Hope!  I wonder if the problem is not simply 
wishful-thinking, but a misunderstanding of the already-discussed change 
in dress sizes.  If, say, MM was an "old size 12" which is now an 8 (or 
whatever) maybe people reading it don't know they need to convert.

I hope she can post pictures of Marilyn in these gowns for comparison, 
but she would have to get permission from the photographers, which might 
be a bit of a fuss.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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----- Original Message ----- 
From: "Sheryl Nance-Durst" <sherylnd@kc.rr.com>
> For the linen, I recommend
> http://www.fabrics-store.com

I've bought from them also and been generally satisfied, but they've sent me
slubby linen on several occasions, so check the images carefully before
ordering. Their 3.5 oz linen is great, though.

I prefer to buy from http://www.fabric.com . I've always been satisfied with
the quality of their stuff, and customer service is simply amazing.
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Lovely, as always. Wish I had your talent! :-)

Arlys

On Wed, 24 Sep 2003 11:06:57 +0200 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> Hi.
> Yesterday evening i finished the stomacher, and i think you would 
> like to
> see it!
> http://www.my-drewscostumes.dk/helmspatterns.htm
> 
> 
> Bjarne
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Hi Albertcat.
In pressent moment, i dont know. This is a commision work, as there is a
lady who wants to buy it.
I dont think she wants it for a costume, but simply hang it on the wall in a
frame.
So i am not sure if she wants me to actually sew (mount) it as a stomacher,
or she wants the flat square fabric hanged at the wall.
But if i was going to make it as a real stomacher, i would make it with
extra tabs at the bottum, as it is an early 18th century pattern. With extra
embroidery.
And thankyou for your lovely phraise, i dont think i do the best, but i
guess it shows when you have fallen in love with your work.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 4:21 PM
Subject: Re: [h-cost] embroidered stomacher is finished


> Yummy! I'll take a dozen.
>
> Now, where's the gown that goes around it?  ;-P
>
> Have you decided how and with what you are going to actually make the
> stomacher? A scrap of wonderful block printed cotton for the back [as seen
in "What
> Clothes Reveal]? Boned or unboned? A turned edge, bound edge? Tabs at the
> point....with matching embroidery of course?
>
> You do the BEST work! I love following your projects.....and nagging you
> about details.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] embroidered stomacher is finished
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>And thankyou for your lovely phraise, i dont think i do the best, but i
>guess it shows when you have fallen in love with your work.
>
>Bjarne

Bjarne, it IS lovely.  It certainly shows that you love your work.

Kass

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Hello felllow costumers!

I have a question for all of you...

I'm in the SCA, and have become more and more dedicated to authentic clothing since I began my clothing career there.  However, since I became more research-oriented, I have focused mostly on later-SCA period (1490 and later).  I have beautiful "army-green" linen, and I would like to make 14th-century cotehardies for my husband and myself (you know, after they get tight-fitting with lots of buttons).  I want to do surface decoration on them, but don't know a lot about what is appropriate.  

So my question is -- what kind of surface decoration is period for this garment? I have seen some illuminations with the women's cotehardies with horizontal bands of embroidery or trim spaced regularly down the body.  What I would really like to do is something at the neckline and cuffs of both mine and his.  I have some beautiful cord for couching and some baltic amber that looks kickin' with it, but am uncertain as to what I can "get away with".  Sadly, I can no longer bring myself to do something that is undocumentable!!! <grin>

Thanks in advance for your advice and resources!!!

--Jen Small

THL Gianetta Andreini da Vicenza

(ps -- I don't have a website, but if you want to see a picture of my 1585 Vecellio dress, click here: http://www.pennsic.net/cgi-bin/pennsic/photos03.cgi?cat=kayleigh  and go to the 23rd item (!) )

 

 


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From h-costume-bounces@indra.com  Wed Sep 24 12:24:57 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi.
Now i have worked a site you can se with planning of the new suit.
I have ben thinking about this projekt for a long time, and i actually new
wich motifs i was going to use.
These flower sprays are going to kill me. If i am going to make them as
accurate as the drawing, then i must do much more than i have done so far. I
fear for the rose, i think a rose is the most difficult flower to embroider,
and the colours. They should be in such shades, that they goes perfect with
the pale blue Duchesse Satin.
I think it will take me some time to watercolour the drawing in those
colours i should use...............
But so far i can start the silverlace, i am going to make some meters of
that.............
http://www.my-drewscostumes.dk/newembroideredsuit.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  Wed Sep 24 12:33:41 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] expensive day- Chaperone
Date: Wed, 24 Sep 2003 18:35:09 +0200
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Dear Stevie,
A Chaperone could be anyone, couldnt it? A relative or something, friend of
the family?
I think you could use a lot of styles. Anglaise dress, a Pied en Lair (short
saque backed jacket) or a saque dress. There are many possibilities.
It could be great fun, if you came dressed two!
And forgive me but i dont think i can finish it all ready for next spring,
well it depends of many things, but this embroidery is going to be much more
intricate.
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 2:35 PM
Subject: Re: [h-cost] expensive day


> Bjarne wrote:
>
> > This wedding suit is going to be trimmed with silver bobbin lace and
> then it
> > shall be embroidered off cause!!!
> >
>
> And it will, of course, be ready for the Bath Ball in the spring!
>
> And I shall see it, and you, in all your glory. Gloat, gloat:-)
>
> I think I must start work on a same period gown, but I'm a bit wary of
> telling Bella about this. I suspect that she will insist that she will
> partner you, and I can be her chaperone, on the grounds that well
> brought up girls always had a chaperone, and she dances much better
> than I do. All of which is true, alas.
>
> So, any recommendations on what a chaperone around 1770 would have
> worn?
>
> best wishes
>
> Stevie
>
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Wed Sep 24 12:35:24 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] OT gossip of the royals in Denmark
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What do you say.
Our Crownprinse Frederik finally desided to get merried.
He has chosen a girl named Mary Donaldson from (hold your seat) Tasmania.
They are going to have their wedding in May next year.

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  Wed Sep 24 12:55:03 2003
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From: "Teena Paradise" <bkessinger@ureach.com>
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Subject: Re: [h-cost] Wedding suit
Date: Wed, 24 Sep 2003 12:54:02 -0400
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Bjarne

I have been searching the web trying to find a picture of Gustaf III's
wedding suit. I found one page that had a video showing some gorgeous
clothing, but I don't speak Swedish so I couldn't understand which was
which. You don't happen to have a photo of it, do you? Your creations are so
beautiful, I would love to see what you are using for your inspiration this
time.

Thanks!

Teena
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 12:37 PM
Subject: [h-cost] OT gossip of the royals in Denmark


> What do you say.
> Our Crownprinse Frederik finally desided to get merried.
> He has chosen a girl named Mary Donaldson from (hold your seat) Tasmania.
> They are going to have their wedding in May next year.
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
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>

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From h-costume-bounces@indra.com  Wed Sep 24 12:58:15 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] OT gossip of the royals in Denmark
Date: Wed, 24 Sep 2003 12:57:17 -0400
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Bjarne,

Have you ever seen the American cartoon "The Tasmania Devil"?  It put a
funny wedding picture in my head.

When I worked in a research laboratory, we had a scientist from
Tasmania.  We used to call him "The Tasmanian Devil".  But he deserved
it!

I hope your Crown Prince and his bride will be very happy in their new
life.

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: 24 September 2003 12:37 PM
To: h-costume@indra.com
Subject: [h-cost] OT gossip of the royals in Denmark

What do you say.
Our Crownprinse Frederik finally desided to get merried.
He has chosen a girl named Mary Donaldson from (hold your seat)
Tasmania.
They are going to have their wedding in May next year.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Robin wrote:
> I happen to keep a collection of awful costuming texts. (They're
> useful in my lectures, where I trace the origins and development of
> costuming myths.) If anyone has a Bad Costume Book they are planning
> on dumping, please check with me first -- if I don't have it, I'd be
> delighted to add it to my collection. >>>> 

Kass wrote:
<snicker>  I do too!  I use
> them in my beginners' class on research.  I call it "Good source.  Bad
> source."  =) 

Yep. I have a shelf which is nearly hidden where I keep all of them 
so that the people who come to visit my library don't think it's a 
good book because I have it.

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
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Subject: RE: worst book (was [h-cost] Books
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>I dimly recall hearing "Cassin is awful," but I've never seen it in
>person.
>
>I wouldn't buy it unless you have a collection of awful costuming texts.

So what's the worst historical costume book ever printed?  My vote goes for 
Pocock's book with all the badly proportioned re-drawings.  Any other votes?


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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If you're interested in buying fur from Fabulous Furs, watch out for their remnants and clearances because often the prices are REALLY good, in some cases 70% off-especially if you need a yard or less
 
Also, re: Mary Qof Scots, I think Kimiko mentioned remembering she was supposedly tall, and I remember reading that she was 5' 11"!  The number sticks in my mind because it's amazing, but I'm still trying to find my source for it.  I do know however that Queen Elizabeth commented that Mary was too tall and she herself was just right.  IF it's true, I can't imagine her having size 4 shoes, she'd fall over!  I'll try to find the source......


Jennifer Fleury
Guild Master 2003-2004
The Guild of St. Augustine
www.guildofstaugustine.org
 
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> > I happen to keep a collection of awful costuming texts. (They're
> > useful in my lectures, where I trace the origins and development of
> > costuming myths.) If anyone has a Bad Costume Book they are planning
> > on dumping, please check with me first -- if I don't have it, I'd be
> > delighted to add it to my collection. >>>>
>
>Kass wrote:
><snicker>  I do too!  I use
> > them in my beginners' class on research.  I call it "Good source.  Bad
> > source."  =)
>
>Yep. I have a shelf which is nearly hidden where I keep all of them
>so that the people who come to visit my library don't think it's a
>good book because I have it.

I have a book I picked up in Australia, which I refer to as The Hippie's 
Guide to Costuming From Scrounged Parts.  It's for grade school and high 
school theatre departments, and doesn't even pretend to historical 
accuracy.  I keep it on the shelf with my other Hippie-needlework and 
fibre-art books.  They advocate the use of things like gold painted chicken 
bones, bead and button collage, paper lace, and anything else that looks 
sort-of right from 25 feet away.  It's lots of fun rather than actually 
awful.  (My computer is no longer in the same part of the house as my book 
case.)

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: worst book (was [h-cost] Books
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Hi Carolyn
I agree wholeharted with you. Peacox' s book is awfull because they are so
badly drawn. The only good thing of this book is the colours. I like many of
the colour combinations he has done.
Another good book i loved a lot. Was a book where you could cut out the
figures and costumes, fold them and bend them, whatever- and glue them
together. They became 3  dimensional costume dolls.
Beginning with a lady with a big hennin, and ending with an edwardian lady.
The renaissance figure was a drum shaped farthingale with a fan ruff. They
also had backgrounds you could place each doll in the correct background,
I made them all and my room was full of these dolls
Grinning out loud!!!
This was many years ago, off cause :-)
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 4:10 AM
Subject: RE: worst book (was [h-cost] Books


>
> >I dimly recall hearing "Cassin is awful," but I've never seen it in
> >person.
> >
> >I wouldn't buy it unless you have a collection of awful costuming texts.
>
> So what's the worst historical costume book ever printed?  My vote goes
for
> Pocock's book with all the badly proportioned re-drawings.  Any other
votes?
>
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               //// \\\
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>             ((((   7 )))
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>
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In a message dated 9/24/2003 2:16:08 PM Eastern Daylight Time, kayta@frys.com 
writes:

> My vote goes for 
> Pocock's book with all the badly proportioned re-drawings.  Any other votes?
> 

I don't know who was responsible, but I hate....HATE...with a passion "The 
Mode in Costume". Or as I like to call it, The Commode in Costume". Not only are 
the redrawings of perfectly good painting dreadful, the descriptions are 
hysterical! "Large bow at front." Well, I can SEE that myself! And colors from 
paintings [we all probably would recognize] are inexplicatively changed in the 
useless descriptions for the useless and terrible black and white drawings.

My friend who collected vintage had an amusingly bad book on identifying 
vintage clothes. I don't believe there was a single 19th century dress in the 
book, but there was lots of teens stuff. Anything with a ruffle on the bottom was 
"circa 1860". As were nylon net 2 ring hoops. Pitiful!
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Subject: Re: [h-cost] First and last books
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     I bought my copy of Margarathe Hald 20 years ago, when it was new & fresh, 
and it cost $50.  Considering inflation on top of it being out of print, $100 
isn't so bad. :-)

     It doesn't have color photos, but was probably expensive due to a small 
print run.  If I recall, the Kyoto book, Barbara Johnson, and QE's Wardrobe 
(original printing) are selling secondhand for proportionately more than their 
original cover prices.

     -Carol


Catherine Olanich Raymond <cathy@thyrsus.com> said:
>  I got mine used from Pastiche, Inc. in Oregon, having located it via an 
> addall.com search.  You're right, though, it wasn't cheap--my copy cost $100 
> USD.

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Date: Wed, 24 Sep 2003 15:14:30 -0400
To: h-costume@indra.com
From: Brenda <webwarren@earthlink.net>
Subject: Re: [h-cost] OT gossip of the royals in Denmark
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Bjarne wrote:

>What do you say.
>Our Crownprinse Frederik finally desided to get merried.
>He has chosen a girl named Mary Donaldson from (hold your seat) Tasmania.
>They are going to have their wedding in May next year.

Having read the "To Be Young And Royal" spread in the September issue of 
_Vanity Fair_, my first reaction was, "Finally?! He's such a young man!" 
Then I went back and noted he's 34 years old and his younger brother 
(Prince Joachim) has been married since 1995 and has two sons...

No wonder it's a "_finally_ decided" matter! I bet you Danes have been 
awaiting this since the time Prince Joachim announced his engagement!

Now, to see if there will be photo spreads available on the Web or in US 
magazines so we can see their wedding attire...



Brenda
webwarren@earthlink.net


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Gustaf III' s wedding suit
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If you want to see pictures of the actual costume i am using as pattern, go
to their website:
http://www.lsh.se/livrustkammaren/
It only works with the swedish text.
Scroll down on the menubar on the left side
A menu is called "Se samlingarna"
Click that.
On top of the site there is a link called Regentlängd. Click that then you
get a whole timeline.
Then find Gustav III and click that.
Then you have some items on the left you can click.
Amungst those is the wedding suit. 3 pictures in all.
The text says that the king was 5 years old when he got engaged to the
danish princesse Sophia Magdalena in 1751.
The wedding took place in the Castlechurch in 1766.
His suit was made in silver silk, decorated with goldembroidery of shining
suns and clouds.
The suit was made in a famous Paris workshop.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] expensive day- Chaperone
Date: Wed, 24 Sep 2003 20:27:54 +0100
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Bjarne wrote:

> A Chaperone could be anyone, couldnt it? A relative or something,
friend of
> the family?
> I think you could use a lot of styles. Anglaise dress, a Pied en
Lair (short
> saque backed jacket) or a saque dress. There are many possibilities.
> It could be great fun, if you came dressed two!

OK, provided I don't have to be dowdy I'll do it!

> And forgive me but i dont think i can finish it all ready for next
spring,
> well it depends of many things, but this embroidery is going to be
much more
> intricate.

Not to worry; Bella and I will just have to attend the Bath Ball and
put up with your old amazing clothes. It's not exactly a sacrifice...

best wishes
Stevie and Bella

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Subject: Re: [h-cost] OT gossip of the royals in Denmark
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Bjarne wrote:

> What do you say.
> Our Crownprinse Frederik finally desided to get merried.
> He has chosen a girl named Mary Donaldson from (hold your seat)
Tasmania.
> They are going to have their wedding in May next year.

Bella spent the summer in Tasmania visiting her stepmother's family,
and apparently this is the most exciting thing to happen in Tasmania
for several decades. I wouldn't get your hopes up too much about the
bride's outfit, though...

best wishes
Stevie

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Subject: Re: [h-cost] Gustaf III' s wedding suit
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Oh my goodness! That is exquisite! And thanks for the tips on how to find
it. I never would have found it alone.

----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 2:40 PM
Subject: [h-cost] Gustaf III' s wedding suit


> If you want to see pictures of the actual costume i am using as pattern,
go
> to their website:
> http://www.lsh.se/livrustkammaren/
> It only works with the swedish text.
> Scroll down on the menubar on the left side
> A menu is called "Se samlingarna"
> Click that.
> On top of the site there is a link called Regentlängd. Click that then you
> get a whole timeline.
> Then find Gustav III and click that.
> Then you have some items on the left you can click.
> Amungst those is the wedding suit. 3 pictures in all.
> The text says that the king was 5 years old when he got engaged to the
> danish princesse Sophia Magdalena in 1751.
> The wedding took place in the Castlechurch in 1766.
> His suit was made in silver silk, decorated with goldembroidery of shining
> suns and clouds.
> The suit was made in a famous Paris workshop.
>
> 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  Wed Sep 24 15:50:35 2003
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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
To: <Costuming@yahoogroups.com>, "Historical Costume" <h-costume@indra.com>
Date: Wed, 24 Sep 2003 19:01:09 +0100
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Subject: [h-cost] petty Chapman trading
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I have been asked by Dave Rushworth to pass this information on





As of March 2003 Petty Chapman has been a sole trader under the ownership and direction of David Rushworth of 92 Norman road Birkby Huddersfield HD2 2UD 01484 480867.

 

A deed of retirement date 03/03/2003 signed by Lindy Pickard is available for view

 

Any other person or persons or a trading address other than 92 Norman road Birkby Huddersfield perporting to be trading as Petty Chapman is spurious and indeed fraudulent.

 

It is to be hoped that any member of the public having paid by cheque a sum of money to any person or persons alleging themselves to be trading as Petty Chapman will understand that any debts so incurred for non delivery of goods promised, these debts  are the sole responsibility of the person or persons to whom the cheque is made out. In other words, if your cheque has been made out to A N OTHER then A N OTHER is responsible to deliver the goods promised or return money 

 

As of the above date there is no connection between David Rushworth & Lindy Pickard

 

Dave Rushworth





thanks

Dawn wood

Ages Of Elegance makers of historical clothing, uniforms and bridalwear http://www.agesofelegance.co.uk 0113 277 6717 
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From h-costume-bounces@indra.com  Wed Sep 24 16:00:29 2003
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Hello the list,
    I just got my biopsy results and the cancer was
benign.  Snooopy Happy Dances around room and will
probably do same for hours and days.
    Now that I know I'll be around to at least
consider finishing some of my projects I need either
rust or pumpkin or mustard colored wool.  Russet in
the red-brown or cinnamon shades is preferred and I
need either pant weight or crepe weight.  I really
would prefer someplace that swatches so I can see how
well the samples felt.  Any suggestions?
                                       Cassandra

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From h-costume-bounces@indra.com  Wed Sep 24 16:07:48 2003
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Subject: Re: [h-cost] Books
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My first costume know-how probably would fit the category...Stage Costumes
and How to Make Them by Julia Tompkins. 1972.  Primitive indeed, she bases
all the 4-5 Centuries of a man's pj and robe pattern and suggests a
bodice/skirt and sheath dress with a full sleeve and a strait sleeve to use
for women's wear.
She gives the shape breakdown for the period needed and shows how to cut the
new shapes using the basic pattern for scale and size.  Funny thing, I used
that book for two years ...until I discovered Arnold.  By then, I was
designing my own stuff for the stage, and was amazed at how good I had been
at eyeballing portraits and discovering how to get the shape right.  Then,
to find gritted patterns that were historically sound, with the guess work
already proved, well that was one way to think I was in heaven.

Kathleen
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 1:10 PM
Subject: RE: [h-cost] Books


> Robin wrote:
> > I happen to keep a collection of awful costuming texts. (They're
> > useful in my lectures, where I trace the origins and development of
> > costuming myths.) If anyone has a Bad Costume Book they are planning
> > on dumping, please check with me first -- if I don't have it, I'd be
> > delighted to add it to my collection. >>>>
>
> Kass wrote:
> <snicker>  I do too!  I use
> > them in my beginners' class on research.  I call it "Good source.  Bad
> > source."  =)
>
> Yep. I have a shelf which is nearly hidden where I keep all of them
> so that the people who come to visit my library don't think it's a
> good book because I have it.
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Happy Dance/russet woolens
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Congratulations! Congratulations!  Congratulations!
      Bridgette

BTW,  go for the russet.  and I've almost always had good luck with 
Fabric.com
I am _so_ happy for you.

>Hello the list,
>     I just got my biopsy results and the cancer was
>benign.  Snooopy Happy Dances around room and will
>probably do same for hours and days.
>     Now that I know I'll be around to at least
>consider finishing some of my projects I need either
>rust or pumpkin or mustard colored wool.  Russet in
>the red-brown or cinnamon shades is preferred and I
>need either pant weight or crepe weight.  I really
>would prefer someplace that swatches so I can see how
>well the samples felt.  Any suggestions?
>                                        Cassandra

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From h-costume-bounces@indra.com  Wed Sep 24 16:20:22 2003
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Subject: [h-cost] RE: OT gossip of the royals in Denmark
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I was in Denmark when Prince Joachim married Alexandra.  We went to the 
large cathedral in Aarhus and got to see them.  Her wedding costumes were 
incredabley beautiful. I'm sure that Mary's will be just as wonderful to 
look at.

It was a very fun celebration that the entire country seemed to be involved 
in.  We don't have royalty in the US so this was a really fun thing to see 
in person.

:)  jessica

>
>What do you say.
>Our Crownprinse Frederik finally desided to get merried.
>He has chosen a girl named Mary Donaldson from (hold your seat) Tasmania.
>They are going to have their wedding in May next year.
>
>Bjarne
>
>

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Subject: [h-cost] Medieval sleeve question
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Hi,
I'm reading som Arthurian legends and books on the subject of chivalry.
There is this intriguing custom of giving a sleeve as a favor to a knight so
that he can bear it into battle. That's present at least in one 12th century
story (I think it's 12th C) where a girl says that her sleeves are much too
small and she'll need to find something bigger to give. The author of my
book on chivalry says that sleeves were detachable in the 12th century. I
wasn't aware of that. Now... were they detachable? If so, what style would
that be? Bliauts? And if not, how would a lady give a sleeve to a knight
without ripping the dress apart? How did he tie it to his equipement? Just a
knot? Was it a stylized sleeve with some kind of attachment? Or is our
understanding of the matter a translation problem?
Thanks for any insight on this matter...
Audrey
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Subject: [h-cost] Medieval sleeve question
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Hi,
I'm reading som Arthurian legends and books on the subject of chivalry.
There is this intriguing custom of giving a sleeve as a favor to a knight so
that he can bear it into battle. That's present at least in one 12th century
story (I think it's 12th C) where a girl says that her sleeves are much too
small and she'll need to find something bigger to give. The author of my
book on chivalry says that sleeves were detachable in the 12th century. I
wasn't aware of that. Now... were they detachable? If so, what style would
that be? Bliauts? And if not, how would a lady give a sleeve to a knight
without ripping the dress apart? How did he tie it to his equipement? Just a
knot? Was it a stylized sleeve with some kind of attachment? Or is our
understanding of the matter a translation problem?
Thanks for any insight on this matter...
Audrey
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From: "Manly Summerfield" <muirgheal@charter.net>
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Subject: Re: [h-cost] Medieval sleeve question
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> I'm reading som Arthurian legends and books on the subject of chivalry.
> There is this intriguing custom of giving a sleeve as a favor to a knight
so
> that he can bear it into battle. That's present at least in one 12th
century
> story (I think it's 12th C) where a girl says that her sleeves are much
too
> small and she'll need to find something bigger to give. The author of my
> book on chivalry says that sleeves were detachable in the 12th century. I
> wasn't aware of that. Now... were they detachable? If so, what style would
> that be? Bliauts? And if not, how would a lady give a sleeve to a knight
> without ripping the dress apart? How did he tie it to his equipement? Just
a
> knot? Was it a stylized sleeve with some kind of attachment? Or is our
> understanding of the matter a translation problem?
> Thanks for any insight on this matter...
> Audrey

The way I have always understood it is, the lady in question did not
actually tear off her sleeve but either removed a tippet or unpinned an
oversleeve to give. I suppose in the earlier period you would be looking at
a decorative oversleeve pinned at the shoulder to a gown, easily removed and
then either tied to or tucked into the knights armor.  I think the pieces
was tied (whether sleeve or tippet) generally in a knot like a garter, or
just simply tucked into the armor itself.

Muirgheal

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20030924195628.33411.qmail@web12007.mail.yahoo.com>
Subject: Re: [h-cost] Happy Dance/russet woolens
Date: Wed, 24 Sep 2003 22:40:15 +0200
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Cassandra!
Congratulations to you, i am so happy for you. Keep up the good will!!!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message ----- 
From: "Cascio Michael" <rosenau5@yahoo.com>
To: <h-costume@net.indra.com>
Sent: Wednesday, September 24, 2003 9:56 PM
Subject: [h-cost] Happy Dance/russet woolens


> Hello the list,
>     I just got my biopsy results and the cancer was
> benign.  Snooopy Happy Dances around room and will
> probably do same for hours and days.
>     Now that I know I'll be around to at least
> consider finishing some of my projects I need either
> rust or pumpkin or mustard colored wool.  Russet in
> the red-brown or cinnamon shades is preferred and I
> need either pant weight or crepe weight.  I really
> would prefer someplace that swatches so I can see how
> well the samples felt.  Any suggestions?
>                                        Cassandra
> 
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
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Bjarne og Leif Drews wrote:
> If you want to see pictures of the actual costume i am using as pattern, go
> to their website:

Here's a quick link to just the image of the suit:

http://www.lsh.se/livrustkammaren/Regenter/Media/14_Gustav_III/31255/31255_A.gif

If you substitute B and C for the final A in the address, you ge the 
other two views.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: worst book (was [h-cost] Books
Date: Wed, 24 Sep 2003 21:16:18 +0000
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I'd say that anything by Herbert Norris is pretty bad. 

Harlie Des Roches

--
Lady Sarafina Sinclair, CW, APF
http://ladysarafina.home.att.net
> In a message dated 9/24/2003 2:16:08 PM Eastern Daylight Time, kayta@frys.com 
> writes:
> 
> > My vote goes for 
> > Pocock's book with all the badly proportioned re-drawings.  Any other votes?
> > 
> 
> I don't know who was responsible, but I hate....HATE...with a passion "The 
> Mode in Costume". Or as I like to call it, The Commode in Costume". Not only are 
> the redrawings of perfectly good painting dreadful, the descriptions are 
> hysterical! "Large bow at front." Well, I can SEE that myself! And colors from 
> paintings [we all probably would recognize] are inexplicatively changed in the 
> useless descriptions for the useless and terrible black and white drawings.
> 
> My friend who collected vintage had an amusingly bad book on identifying 
> vintage clothes. I don't believe there was a single 19th century dress in the 
> book, but there was lots of teens stuff. Anything with a ruffle on the bottom 
> was 
> "circa 1860". As were nylon net 2 ring hoops. Pitiful!
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To Nicole-

Yes, I absolutely agree with you about the theatrical end-product. The 
things I made from this book turned out looking exactly like the 
drawings in the book; at the time I was using Holkeboer, I just hadn't 
realized the gap that existed between theatrical historical garments and 
_historical_ historical garb.

Theresa Eacker

N Kipar wrote:
>  --- Theresa Eacker <theresa@misc.com> wrote: > First book: Theatrical Patterns
> by Holkeboer (yes, I know...UGH; group 
> 
>>cringe, everybody!!)
> 
> 
> Why????? It is a LOVELY book for exactly what it says on the cover: theatrical
> patterns.
> I made some really nice history inspired clothes for every day wear from those
> patterns.
> 
> Nicole
> 
> =====
> Cap'n Cat of the good ship 'Harlot'
> http://www.kipar.org/society/author/pirates/
> 
> Email: nicole@kipar.org
> URL: http://www.kipar.org
> 
> ________________________________________________________________________
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From h-costume-bounces@indra.com  Wed Sep 24 18:10:17 2003
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Date: Wed, 24 Sep 2003 14:41:32 -0700
Subject: Re: worst book (was [h-cost] Books
From: Lynn Downward <LDownward@chori.org>
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While I completely agree that Peacock's books aren't worth the paper they're
printed on, I have to disagree about Ruth Wilcox's Mode in Costume and Mode
in Hats. 

Granted, the faces of the people illustrated in the books look to have been
drawn in the 1930's-40's when she was producing her books, and they are
illustrated in b/w.  However, I like very much the fact that the silhouettes
and proportions are correct. Her writing is not BAD, something to be said of
30's-40's research. She offers designs and patterns of the period in each
chapter and talks about colors favored during the decade she's writing
about. She shows accessories and hair styles. She discusses influences of
style changes.

I agree, illustrations are redrawings, she describes the obvious as well as
the not-so-obvious. However, I know three historic seamstresses who use this
book to help their clients narrow down what years they want their costume to
reproduce, what they like and dislike about the period, and the accessories
the would need to be acquired to complete said outfit. Then they can move to
the Early Victorian books, for example, rather than having to look through
the Bustle period books too. The fact that Mode shows clothing from BC
through the 1940's ('50's? - my copy went missing last year) makes it very
helpful if you only have money or room for a couple of costume overview
books.

I would never take it as THE book to base an accurate outfit on in any given
period without checking books more more specific to any certain period, but
a perusal of Mode in Costume often helps me decide whether to go for 1840 or
1860, or which sort of outerwear and shoes to wear with my 1935 dress.

LynnD



On 9/24/03 12:00 PM, "AlbertCat@aol.com" <AlbertCat@aol.com> wrote:

> In a message dated 9/24/2003 2:16:08 PM Eastern Daylight Time, kayta@frys.com
> writes:
> 
>> My vote goes for
>> Pocock's book with all the badly proportioned re-drawings.  Any other votes?
>> 
> 
> I don't know who was responsible, but I hate....HATE...with a passion "The
> Mode in Costume". Or as I like to call it, The Commode in Costume". Not only
> are 
> the redrawings of perfectly good painting dreadful, the descriptions are
> hysterical! "Large bow at front." Well, I can SEE that myself! And colors from
> paintings [we all probably would recognize] are inexplicatively changed in the
> useless descriptions for the useless and terrible black and white drawings.
> 
> My friend who collected vintage had an amusingly bad book on identifying
> vintage clothes. I don't believe there was a single 19th century dress in the
> book, but there was lots of teens stuff. Anything with a ruffle on the bottom
> was 
> "circa 1860". As were nylon net 2 ring hoops. Pitiful!
> _______________________________________________
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 I should have elaborated...Since a large portion of Americans are overweight, are grossly overweight, some clothing manufacturers are making their "sizes" smaller. But many others are going the opposite direction. Where I work, if a woman comes in over 150 pounds, less if she has large breasts or hips, she's shopping on the plus rack; and we've made a conscious effort to provide lingerie for "larger" sizes. I have two modern made jackets that both fit me fine, one is size 5, the other size 10.Cheers,Wendywww.hecate.ca/emma/--- On Wed 09/24, Cynthia Virtue &lt; cvirtue+dated+1079966333.f00b85@thibault.org &gt; wrote:From: Cynthia Virtue [mailto: cvirtue+dated+1079966333.f00b85@thibault.org]To: h-costume@indra.comDate: Wed, 24 Sep 2003 10:33:10 -0400Subject: Re: [h-cost] Re: Re: Average human size?Hope Greeenberg wrote:&gt;&gt;&gt; If Marilyn Munroe lived in today's world, she'd be&gt;&gt;&gt; shopping in the plus sizes.&gt; &gt; Ahh Google. Gotta love it:&gt; http://www.jess!
 icaseigel.com/marilyn.shtmlCool! Thanks, Hope! I wonder if the problem is not simply wishful-thinking, but a misunderstanding of the already-discussed change in dress sizes. If, say, MM was an "old size 12" which is now an 8 (or whatever) maybe people reading it don't know they need to convert.I hope she can post pictures of Marilyn in these gowns for comparison, but she would have to get permission from the photographers, which might be a bit of a fuss.-- Cynthia Virtue and/orCynthia du Pré ArgentIf we don't believe in freedom of expression for people we despise, we don't believe in it at all.-- Noam Chomsky_______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume

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Hi Folks,

In case you're curious, the complex look of my email address is due to a 
"whitelist" spamblocker email program called TMDA.  It has eliminated 
all the obscene spam I was getting (more than 20 a day!)  The special 
email address expires after a certain amount of time, and after that, 
you'd get an automatic note which lets your mail through with one click. 
  This doesn't apply to email lists, just if you send me personal email.

I mention this because whitelists are likely to get a lot more common, 
so now you know what it is if you see it from others.

> cvirtue+dated+1079966333.f00b85@thibault.org

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Sadly, "Assault and Battery on a Language" is not a crime.  --  Steffan
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] embroidered stomacher is finished
To: Historical Costume <h-costume@indra.com>
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Such beautiful work, Bjarne! (as always:)
Albra

Sheryl Nance-Durst <sherylnd@kc.rr.com> wrote:
You are still the master!

Sheryl N-D

At 11:06 AM 9/24/03 +0200, Bjarne wrote:
>Hi.
>Yesterday evening i finished the stomacher, and i think you would like to
>see it!
>http://www.my-drewscostumes.dk/helmspatterns.htm
>
>
>Bjarne
>



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Subject: Re: [h-cost] 1st and last books
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>From yet another theater costumer, this is a nice place to start.  We often
forget that we all have to begin at the beginning, and this book was a
delightful introduction to lines for stage.  Good to have graduated to
Waugh, Hunniset & Arnold, yes, but wouldn't have gotten there if it weren't
for Holkeboer.  It was my first costume book.

angela
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"O, what a world of vile ill-favored faults
 looks handsome in three hundred pounds a year!..."
The Merry Wives of Windsor, III, iv - W. Shakespeare

----- Original Message ----- 
From: "Theresa Eacker" <theresa@misc.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 2:39 PM
Subject: Re: [h-cost] 1st and last books


> To Nicole-
>
> Yes, I absolutely agree with you about the theatrical end-product. The
> things I made from this book turned out looking exactly like the
> drawings in the book; at the time I was using Holkeboer, I just hadn't
> realized the gap that existed between theatrical historical garments and
> _historical_ historical garb.
>
> Theresa Eacker
>
> N Kipar wrote:
> >  --- Theresa Eacker <theresa@misc.com> wrote: > First book: Theatrical
Patterns
> > by Holkeboer (yes, I know...UGH; group
> >
> >>cringe, everybody!!)
> >
> >
> > Why????? It is a LOVELY book for exactly what it says on the cover:
theatrical
> > patterns.
> > I made some really nice history inspired clothes for every day wear from
those
> > patterns.
> >
> > Nicole
> >
> > =====
> > Cap'n Cat of the good ship 'Harlot'
> > http://www.kipar.org/society/author/pirates/
> >
> > Email: nicole@kipar.org
> > URL: http://www.kipar.org
> >
> > ________________________________________________________________________
> > Want to chat instantly with your online friends?  Get the FREE Yahoo!
> > Messenger http://mail.messenger.yahoo.co.uk
> > _______________________________________________
> > 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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From: Kimiko Small <kimiko@kimiko1.com>
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At 12:56 PM 9/24/2003 -0700, you wrote:
>Hello the list,
>     I just got my biopsy results and the cancer was
>benign.  Snooopy Happy Dances around room and will
>probably do same for hours and days.


That is wonderful news! Congrats!!!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Cotehardie question
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At 08:53 AM 9/24/2003 -0700, you wrote:
>Thanks in advance for your advice and resources!!!
>
>--Jen Small
>
>THL Gianetta Andreini da Vicenza
>
>(ps -- I don't have a website, but if you want to see a picture of my 1585 
>Vecellio dress, click here: 
>http://www.pennsic.net/cgi-bin/pennsic/photos03.cgi?cat=kayleigh  and go 
>to the 23rd item (!) )


Hi Jen,

Wow, another Small person! Cool.

I don't have an answer to your question, unfortunately. Not my time period 
so I haven't a clue.

But I wanted to share a more direct link to your photo, to verify it was 
yours. Sometimes I miscount... and me an accountant!
http://www.pennsic.net/cgi-bin/pennsic/photos03.cgi?cmd=view&id=PW32AS%2DElizabethanGown%2Ejpg&cat=kayleigh
I very much like the dress, but would love to see what you looked in it. 
People so make the outfit.

When I first went to the link you gave, it was showing a garment made for 
an SCA Duke that took six years and 40,000 pearls!! I wanted to share this 
link as well, because I have never seen so many pearls on a garment before. 
Is the creator on this list?
http://www.midrealm.org/moas/constellation/Image037.htm

Ok, now I am inspired again. So many lovely costumes you all are sharing.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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> Lisa, perhaps you are mistaking my desire to prevent new people from
> making mistakes as annoyance with them.  I assure you that nothing could
> be further from the truth.

Probably so.  I find that either someone genuinely doesn't know something so
can't be blamed, or they have another agenda altogether that I've failed to
notice.  I get most amused at people who get riled up because at me and
decide to give some expert advice as to how to hold the baseball bat
correctly when they have failed to notice that I'm actually playing cricket!
I rarely bother to tell such people this either.  He who laughs last, need
only smile :)

Lisa Sinervo


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Subject: [h-cost] Update on the Shoe of Mary Queen of Scots
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The response I have from Edith Cuff the CEO of the Abbey Museum follows:

"the shoe was given by a lady in waiting to Queen Mary who was the direct
descendant of one of Mary's ladies and was found when renovations were done
to Sheffield castle.

The shoe was identified by the Victoria & Albert Museum in the 1930's when
the Abbey Folk Park was in London. We can't unfortunately get measurements
from the shoe as it is difficult to remove it from the case where it is on
display. However, should we be working on that case and the items removed we
will certainly measure it and send you the details.

Also several art authorities have seen it but never questioned the dating or
authenticity. However, this is not to say that we would not be interested in
hearing comments on it as several items that Ward collected have been
recatalogued.

sincerely

Edith"

So, that is the status.  I do agree that the latching system does not look like images I have seen from shoes of the 16th century.  Someone mentioned the shoe historian might give an assessment.  I'm sure the museum would be most interested in another opinion.


Lisa Sinervo
www.Thrednedlestrete.com
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On Wednesday 24 September 2003 12:37 pm, Bjarne og Leif Drews wrote:
> What do you say.
> Our Crownprinse Frederik finally desided to get merried.
> He has chosen a girl named Mary Donaldson from (hold your seat) Tasmania.
> They are going to have their wedding in May next year.

Oh, my.  Has the speculation about the design of the bride's gown started yet?  
:-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: worst book (was [h-cost] Books
Date: Wed, 24 Sep 2003 21:20:45 -0400
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On Tuesday 23 September 2003 10:10 pm, Carolyn Kayta Barrows wrote:
> >I dimly recall hearing "Cassin is awful," but I've never seen it in
> >person.
> >
> >I wouldn't buy it unless you have a collection of awful costuming texts.
>
> So what's the worst historical costume book ever printed?  My vote goes for
> Pocock's book with all the badly proportioned re-drawings.  Any other
> votes?

This *would* be an easier one, if there weren't so many choices....

I don't share the near-universal hatred of Peacock.  I know about his 
misdrawings, and I wouldn't give one of his books to anyone with no 
understanding/knowledge of costume history, but if you have a solid 
background they make a nice casual reference, to be checked against more 
authoritative works if historic recreation is your objective.  (In fact, I 
always assumed that he simply can't draw well, and that he likely compounded 
the problem by doing the sketches for his books quickly.)

So, what do I think is the worst historical costume book?

Of the ones I've seen, I think I have to vote for Dion Caltrop's "English 
Costume".  No sources for anything, and chock-full of pretty colored drawings 
that convey almost no information about cut or materials of the costumes 
depicted (and often get wrong the information they do convey).

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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On Wednesday 24 September 2003 03:56 pm, Cascio Michael wrote:
> Hello the list,
>     I just got my biopsy results and the cancer was
> benign.  Snooopy Happy Dances around room and will
> probably do same for hours and days.

Congratulations!

.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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On Wednesday 24 September 2003 09:54 am, Catherine Kinsey wrote:
> > First book: Theatrical Patterns by Holkeboer (yes, I know...UGH;
>
> group
>
> > cringe, everybody!!)
>
> Hey, it's better than Norris, Iris Brooks, Hill & Buchnell or others
> that supposedly have patterns (which don't hang like the ones they
> are supposed to look like). It may be theatrical but it's better than
> so many of the others that until you learn something about how they
> were actually made (since there aren't too many really good books on
> the market which do more than work on supposition).

At least with Holkeboer's patterns you can get the shapes of costume 
approximately right. ...



-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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On Wed, 24 Sep 2003, Audrey Bergeron-Morin wrote:

> I'm reading som Arthurian legends and books on the subject of
> chivalry. There is this intriguing custom of giving a sleeve as a
> favor to a knight so that he can bear it into battle. That's present
> at least in one 12th century story (I think it's 12th C) where a girl
> says that her sleeves are much too small and she'll need to find
> something bigger to give. The author of my book on chivalry says that
> sleeves were detachable in the 12th century. I wasn't aware of that.
> Now... were they detachable? If so, what style would that be? Bliauts?
> And if not, how would a lady give a sleeve to a knight without ripping
> the dress apart? How did he tie it to his equipement? Just a knot? Was
> it a stylized sleeve with some kind of attachment? Or is our
> understanding of the matter a translation problem?

The thought of detachable sleeves in the 12th century set all my alarms
ringing ... I haven't seen any other sign of such, and I wondered
immediately as you did -- was it a special "stylized" item, not part of
real dress? A translation problem?

So I passed the question on to Monica Wright, who specializes in costume
references in French literature of this period. Here's what she said:

<<The work she's talking about is by Chretien de Troyes:  Le Conte du
Graal, ou Perceval.  It's in an episode called the Damsel of the Little
Sleeves (la Demoiselle aux petites manches).  Giving a sleeve to a knight
is customary in this period, but there is no indication that the sleeves
were worn (i.e. laced on).  It seems, rather, that they are ceremonial in
nature, to be given out.  In that scene, her father cuts a sleeve for her
out of his own samite clothes to give to Gawain, so clearly, she never
wore it.  It is a perplexing problem, though.>>

So it sounds as though these "sleeves" were made specifically as favors.
Later scholars incorrectly assumed that they must have been real parts of
clothing that were detachable ... an easy error on the part of literature
scholars who might have seen, say, Italian Renaissance art that showed
detachable sleeves and assumed the same was done in 12th C. France.

I wonder if the heraldic charge of the "maunche" dates from about this
time -- it looks like a disembodied 12th c. sleeve, but not like anything
that might have been worn in the 13th and 14th c., so perhaps was
fossilized as an image based on the "sleeve favors" of the 12th c.

Manly Summerfield added:

> The way I have always understood it is, the lady in question did not
> actually tear off her sleeve but either removed a tippet or unpinned
> an oversleeve to give. I suppose in the earlier period you would be
> looking at a decorative oversleeve pinned at the shoulder to a gown,
> easily removed and then either tied to or tucked into the knights
> armor.  I think the pieces was tied (whether sleeve or tippet)
> generally in a knot like a garter, or just simply tucked into the
> armor itself.

To clarify: Tippets didn't show up till about two centuries after the
story in question, and detachable sleeves appeared in Western Europe even
later. Also, there's no evidence to indicate that tippets were ever
detachable, and substantial reason to think they were not. But that's
another topic, and one I've blathered on about before on this list, having
given a paper about it quite some years ago (and yes, I'm hoping to get
that one revised and published in the next couple of years!).

--Robin


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----- Original Message ----- 
From: "Cabbage Rose" <cabbagerose@sbcglobal.net>
> Good to have graduated to
> Waugh, Hunniset & Arnold, yes, but wouldn't have gotten there if it
weren't
> for Holkeboer.  It was my first costume book.

Yes, if I think of it this way, I wouldn't have gotten there if... well..
no... actually, Peacock didn't help me start costuming. I was already
interested in the subject before I "met" him. Starting costuming, as in
building things, was Kass' doing :-)
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On Wed, 24 Sep 2003, Jen Small wrote:

> ... I would like to make 14th-century cotehardies for my husband and
> myself (you know, after they get tight-fitting with lots of buttons).  
> I want to do surface decoration on them, but don't know a lot about
> what is appropriate.
> 
> So my question is -- what kind of surface decoration is period for
> this garment?

Very little if any, if we're to go by illustrations, which suggest that
unembellished gowns were the norm, though fancy fabrics (including
brocades with all-over woven designs) were one option to create surface
interest. A lot of people assume there's also all-over embroidery; I'm
more inclined to read images as woven patterns unless there's some reason
to think otherwise.

Written accounts suggest more variation. "Fashion in the Age of the Black
Prince," a very useful reference for this period, includes at least one
reference to copious use of pearls and some references to embroidery,
IIRC. I've forgotten the details and don't have time to go hunting for
them now, so before I'd say "use pearls," I'd suggest you get the book and
read through it. Be alert to whether the pearls and embroideries are
specified as being for body garments, or whether they're more likely to
have referred to hoods or other accessories. And watch to make sure they
weren't something that only royalty or exceedingly high nobility would
have done. It may be that these uses were recorded precisely because they
were unusual.

> I have seen some illuminations with the women's cotehardies with
> horizontal bands of embroidery or trim spaced regularly down the body.

Sounds like you're referring to some images in the Belles Heures and/or
Tres Riches Heures. I would NOT suggest you rely on these. The artists
here used stripes and certain other types of embellishment as part of
their iconographic code -- e.g. to identify foreigners or historical
figures. Bands/stripes also have been associated in certain eras with
prostitutes or wanton women, or with entertainers. In general, you need to
look at a large number of images from a specific period or place and see
whether a particular type of embellishment occurs only on certain types of
symbolic/historical figures, or whether it also appears on "normal" or
"real" individuals. Identifying these sorts of codes can take many years
of familiarity with the art, which can be unreasonable to ask of you at
this stage, so I'll add that I don't think you'll find those "bands" on
any realistic figures for the later 14th c. and early 15th c., at least
not in England/France/Flanders. You see more surface variation in Italy,
and I refuse to speculate about Spain and Germany, whose fashions can be
highly divergent in details and are beyond my scope.

There are plenty of embroideries extant from the 14th c., but these are
mostly ecclesiastical vestments, church furnishings, or home furnishings,
to my knowledge. Still, someone on one of the needlework lists might have
a clue to extant clothing embroidery ... though that would be a neat trick
given that we don't have any extant body garments of this style apart from
a couple of men's pourpoints/cotes, which to my knowledge are made of very
fancy silks but are not embroidered -- anyone have a better lead?

>  What I would really like to do is something at the neckline and cuffs
> of both mine and his.  I have some beautiful cord for couching and
> some baltic amber that looks kickin' with it, but am uncertain as to
> what I can "get away with".  Sadly, I can no longer bring myself to do
> something that is undocumentable!!! <grin>

You might use that amber for a necklace, or decoration on a pouch or belt.

I'll be interested whether anyone has any solid evidence of embellishments
for body garments in this period. I get asked about this a lot, but my
interest generally shuts off after the construction stage of the body
garments, so I've neglected the embellishment.

--Robin

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Medieval sleeve question
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Ah... thanks Robin!

> So I passed the question on to Monica Wright, who specializes in costume
> references in French literature of this period. Here's what she said:
> <<The work she's talking about is by Chretien de Troyes:  Le Conte du
> Graal, ou Perceval.  It's in an episode called the Damsel of the Little
> Sleeves (la Demoiselle aux petites manches).  Giving a sleeve to a knight
> is customary in this period, but there is no indication that the sleeves
> were worn (i.e. laced on).  It seems, rather, that they are ceremonial in
> nature, to be given out.  In that scene, her father cuts a sleeve for her
> out of his own samite clothes to give to Gawain, so clearly, she never
> wore it.  It is a perplexing problem, though.>>

What unsettled me was the girl complaining that her own sleeves were much
too small to give out. This had me thinking that she would be trying to give
him a sleeve from one of her own existing dresses, because if she didn't,
then she could have it cut to any size she wanted...

> So it sounds as though these "sleeves" were made specifically as favors.
> Later scholars incorrectly assumed that they must have been real parts of
> clothing that were detachable ... an easy error on the part of literature
> scholars who might have seen, say, Italian Renaissance art that showed
> detachable sleeves and assumed the same was done in 12th C. France.

That's what I think must have happened. There were detachable sleeves a
little later on, and especially detachable oversleeves, but I've never seen
any in 12th C France.

> Manly Summerfield added:
> > I suppose in the earlier period you would be
> > looking at a decorative oversleeve pinned at the shoulder to a gown,
> > easily removed and then either tied to or tucked into the knights
> > armor.

If that was the case, then it would have been worn as a decoration only, and
only for the tournament, because we don't know about the existence of any
kind of functional oversleeve at that time. It would have been "tournament
costume", but then, why wouldn't we see similar things on manuscripts? Even
on later manuscripts, where we see so many ladies looking at knights
jousting?

Anyway, thanks for comforting me in my opininon that the author of the book
I was reading didn't know what he was talking about ;-) He must have copied
from someone else, or he had only a vague idea of costume and got his eras
mixed up... or he just assumed :-)
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From h-costume-bounces@indra.com  Wed Sep 24 22:35:36 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Date: Wed, 24 Sep 2003 19:33:27 -0700
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Subject: [h-cost] FW: Busk Images-more information
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I have not been able to read all the responses regarding this issue, but
thought I would forward this information.....I guess poor Norris is being
blamed for something he may have had little to do with.  BTW, I have not had
the time to do any research myself, but appreciate this information.

Sg

-----Original Message-----
From: Information [mailto:info@grannd.com] 
Sent: Wednesday, September 24, 2003 6:44 AM
To: Saragrace T. Knauf
Subject: RE: Busk Images

Hello,

As far as we know, the only true busk is the straight one which is why we
give it a date distance for usability (although this is still an approximate
timeline and we encourage those who want complete accuracy to research the
subject thoroughly). The "tapered" busk was created first due to customer
requests by those doing renaissance fairs and theatrical interpretations.
This became a quick and dirty way to give the proper look for a bodice
without necessitating a full, proper corset, since those originally using it
had a pocket on the inside of their bodices.

For those actually making a renaissance/Tudor time period correct corset,
the patterns do not give an option for a busk in the front, or if they do it
is for a straight wood busk. The other use for the tapered busk is for
"look" and decoration. We have requests and do custom wood burning of names,
dates, and short poems and the busks are then presented as mementos to
ladies.

We have noticed that several other online vendors have started carrying
items after we've had them custom created such as tinted grommets and
washers, wood busks etc. We don't know if other vendors note these items as
"period reproductions", however we do not wish to make that claim.

Hope this helps in some way explain the busks. If you would like to research
the subject further, we can recommend some books depending upon the time
period.

Best regards,

Grannd Companies

> -----Original Message-----
> From: Saragrace T. Knauf [mailto:saragrace@earthlink.net]
> Sent: Tuesday, September 23, 2003 5:19 PM
> To: info@grannd.com
> Subject: RE: Busk Images
>
>
> Thank you very much.  BTW, do you know why there are two shapes?
>  Does this
> differentiate the Tudor/Elizabethan from the other type?
>
> Saragrace
>
> -----Original Message-----
> From: Information [mailto:info@grannd.com]
> Sent: Tuesday, September 23, 2003 9:11 AM
> To: saragrace@earthlink.net
> Subject: Busk Images
>
> Hello,
>
> Since you are not the first to ask, we finally did a scan of a few busks.
> They are located at:
>
> http://www.grannd.com/images/wood_straight_busk.jpg and
> http://www.grannd.com/images/wood_taper_busk.jpg
>
> and will be linked to their items soon.
>
> Best regards,
>
> Grannd Companies
>
> > -----Original Message-----
> > From: saragrace@earthlink.net [mailto:saragrace@earthlink.net]
> > Sent: Monday, September 22, 2003 4:14 PM
> > To: info@grannd.com
> > Subject: Question
> >
> >
> > Below is the result of your feedback form.  It was submitted by
> >  (saragrace@earthlink.net) on Monday, September 22, 2003 at 13:13:51
> > ------------------------------------------------------------------
> > ---------
> >
> > Name: Saragrace Knauf
> >
> > questions: Are there pictures available somewhere of the ash wood
> > busks appropriate for the Elizabethan and Tudor Corsets?  I don't
> > see any links from the product numbers.
> >
> > Thanks
> >
> > Sg
> >
> > ------------------------------------------------------------------
> > ---------
> >
> > HTTP_USER_AGENT: Mozilla/4.0 (compatible; MSIE 6.0; Windows NT
> > 5.1; .NET CLR 1.0.3705)
> > REMOTE_ADDR: 24.221.40.235
> >
>
>



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From h-costume-bounces@indra.com  Wed Sep 24 22:36:36 2003
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From: "Angela F. Lazear" <angelalazear@sbcglobal.net>
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I've just been contacted by a representative for the owner of a major
airlines. He wants to throw a party in Florida in gorgeous elaborate Italian
Rennaisance.  He plans to invite 400 guests.

They'll pay through the nose, but I can't make 400 gowns in two months.
Anyone got any ideas?  I'd hate to flat turn them down, but I'd be way over
my head.  Does anyone but me have a hefty stock they'd rent for $500 per
outfit?  If we all got together and coordinated, we might be able to help
them, but I don't know what condition things would be returned.  They'd also
pay about $2500 per gown / outfit for construction for the guests. The date
is first week November.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
W. Shakespeare

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] embroidered stomacher is finished-your watercolours
Date: Wed, 24 Sep 2003 19:36:08 -0700
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Bjarne, I just love your embroidery, but I also just love your watercolours.
I hope you are saving them all.  Someday, someone will discover them and put
them in an archive in a museum or library and someone else will discover
them and write a book about you.   Maybe I should just do it for them?  :)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Wednesday, September 24, 2003 2:07 AM
To: h-costume@indra.com
Subject: [h-cost] embroidered stomacher is finished

Hi.
Yesterday evening i finished the stomacher, and i think you would like to
see it!
http://www.my-drewscostumes.dk/helmspatterns.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  Wed Sep 24 22:56:11 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] Italian Renn project
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Wow, what a problem.  Didn't the Renaissance Italians have a fascination
with Aristotle and all things classical and Greek?  Perhaps it could be a
Italian Renaissance costume party celebrating the classic period.  Then you
could have some easier costumes to construct as well as come Renaissance
ones.

Just a suggestion.

Lisa Sinervo


----- Original Message -----
From: "Angela F. Lazear" <angelalazear@sbcglobal.net>
To: <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 4:05 PM
Subject: [h-cost] Italian Renn project


> I've just been contacted by a representative for the owner of a major
> airlines. He wants to throw a party in Florida in gorgeous elaborate
Italian
> Rennaisance.  He plans to invite 400 guests.
>
> They'll pay through the nose, but I can't make 400 gowns in two months.
> Anyone got any ideas?  I'd hate to flat turn them down, but I'd be way
over
> my head.  Does anyone but me have a hefty stock they'd rent for $500 per
> outfit?  If we all got together and coordinated, we might be able to help
> them, but I don't know what condition things would be returned.  They'd
also
> pay about $2500 per gown / outfit for construction for the guests. The
date
> is first week November.
>
> angela
> +++++
> Angela F. Lazear
> Cabbage Rose Costumes
> http://www.cabbagerosecostumes.com
> Theatrical Costume Design
>
> "Love all, trust a few, do wrong to none:
> be able for thine enemy rather in power than use,
> and keep thy friend under thy own life's key:
> be checked for silence, but never taxed for speech..."
> W. Shakespeare
>
> _______________________________________________
> 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] Cotehardie question
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Robin Netherton wrote:
>>... I would like to make 14th-century cotehardies for my husband and

> I'll be interested whether anyone has any solid evidence of embellishments
> for body garments in this period.

The only help I can be is this scanned picture from Kohler, but I don't 
know if it's really outerwear, annotated:

1300s surplice, French.  National Museum, Munich.
Note band of trim across chest, shoulders, and vertical in center. 
Godets at side reinforced (?) with embroidered patches that match cuffs.
 From Kohler, who notes that it is of "white linen, braided with blue 
and red."

It's scanned on my Extant page: http://www.virtue.to/articles/extant.html
Enlargement: http://www.virtue.to/articles/images/1300s_real_surplice.jpg

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Sadly, "Assault and Battery on a Language" is not a crime.  --  Steffan
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From h-costume-bounces@indra.com  Thu Sep 25 00:19:31 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Medieval sleeve question
Date: Wed, 24 Sep 2003 21:18:43 -0700
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So are the stories really 12th century or are they passed down from the
'real' time period that Arthur 'really' existed (~5th century from what I
remember).  Does this make how it was done any different?  I can imagine
something becoming stylized or given symbolically a long time after it was
done 'for real'.......

I don't remember when the stories went from the oral tradition to actually
being written down. 

Sg



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Subject: Re: [h-cost] Cotehardie question
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You need to get your hands on a copy of "Textiles and Clothing" (full
publication details below); much of the information you want is in there.  
In the section on sewing techniques and tailoring, there is much evidence 
of the sleeve and neck openings being trimmed with a card-woven 
cording which is actually woven directly onto the garment as an edge-
finishing technique.  Until you learn how to do this yourself, you could 
approximate it by couching the cord you mentioned you had right onto 
the edge of the neck and sleeves.  Some of the other edge finishes are
simple straight, diagonal, and overcast stitches, sometimes in contrasting 
colors to the garments; ditto the button-holes.  Narrow tapes and cords 
are also used, made either on small looms or by finger-looping.  The 
section on silk textiles includes many woven patterns and the section on
woolen textiles includes lots of interesting twill patterns, as well as 
striped, plaid and checked cloth.  So there appears to be surface 
decoration, but it is woven in, not applied.
I think you'll enjoy the book.  (And the others in the series.)
                  -Aidan

Textiles and Clothing, C.1150-C.1450: Medieval Finds from 
     Excavations in London, by Elisabeth Crowfoot, Frances 
     Pritchard, and Kay Staniland
     ISBN: 0851158404
     From Boydell & Brewer, Ltd, Woodbridge, UK, 2001
     Currently available from Barnes and Noble for $36.00 US
 

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Subject: Re: [h-cost] Re: Re: Average human size?
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At 10:33 AM -0400 9/24/03, Cynthia Virtue wrote:
>Hope Greeenberg wrote:
>>>>If Marilyn Munroe lived in today's world, she'd be
>>>>shopping in the plus sizes.
>>
>>Ahh Google. Gotta love it:
>>http://www.jessicaseigel.com/marilyn.shtml
>
>Cool!  Thanks, Hope!  I wonder if the problem is not simply 
>wishful-thinking, but a misunderstanding of the already-discussed 
>change in dress sizes.  If, say, MM was an "old size 12" which is 
>now an 8 (or whatever) maybe people reading it don't know they need 
>to convert.
>
>I hope she can post pictures of Marilyn in these gowns for 
>comparison, but she would have to get permission from the 
>photographers, which might be a bit of a fuss.

I've always felt it would be very educational to put together 
"statistics" on women across the centuries considered by their 
contemporaries to be the essence of feminine beauty.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Thu, 25 Sep 2003 00:35:08 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Italian Renn project
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On Wed, 24 Sep 2003, Angela F. Lazear wrote:

> They'd also pay about $2500 per gown / outfit for construction for the
> guests.

Yow, I wish I had an Italian Renn costume to sell you. For that, I'd be
able to make plenty of replacements.

--Robin

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Date: Thu, 25 Sep 2003 00:06:14 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cotehardie question
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On Thu, 25 Sep 2003, Helen Pinto wrote:

> You need to get your hands on a copy of "Textiles and Clothing" (full
> publication details below); much of the information you want is in there.  
> In the section on sewing techniques and tailoring, there is much evidence 
> of the sleeve and neck openings being trimmed with a card-woven 
> cording which is actually woven directly onto the garment as an edge-
> finishing technique.  Until you learn how to do this yourself, you could 
> approximate it by couching the cord you mentioned you had right onto 
> the edge of the neck and sleeves.

FWIW, I think of this as functional more than decorative. It's not showy
at all.

> Some of the other edge finishes are simple straight, diagonal, and
> overcast stitches, sometimes in contrasting colors to the garments;
> ditto the button-holes.  Narrow tapes and cords are also used, made
> either on small looms or by finger-looping.  The section on silk
> textiles includes many woven patterns and the section on woolen
> textiles includes lots of interesting twill patterns, as well as
> striped, plaid and checked cloth.  So there appears to be surface
> decoration, but it is woven in, not applied.

And be very careful to consider scale -- some of the stripe patterns are
small enough to produce a very muted blended look, IIRC.

What's frustrating about so many of these fragments is we have no idea
what most of the fabrics were used for -- what types of garments or other
items (there were many uses for fabric besides garments) and for what sex
and class level.

--Robin

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Date: Wed, 24 Sep 2003 21:59:39 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Cotehardie question
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At 11:07 PM -0400 9/24/03, Cynthia Virtue wrote:
>Robin Netherton wrote:
>>>... I would like to make 14th-century cotehardies for my husband and
>
>>I'll be interested whether anyone has any solid evidence of embellishments
>>for body garments in this period.
>
>The only help I can be is this scanned picture from Kohler, but I 
>don't know if it's really outerwear, annotated:
>
>1300s surplice, French.  National Museum, Munich.
>Note band of trim across chest, shoulders, and vertical in center. 
>Godets at side reinforced (?) with embroidered patches that match 
>cuffs.
>From Kohler, who notes that it is of "white linen, braided with blue and red."
>
>It's scanned on my Extant page: http://www.virtue.to/articles/extant.html
>Enlargement: http://www.virtue.to/articles/images/1300s_real_surplice.jpg

I'm not sure how well it translates to secular styles though.  By 
this point, the style of ecclesiastical garments like this type seems 
to have diverged significantly from secular fashions (whereas a 
couple centuries earlier they seem to have still been fairly close). 
The cut of this garment (to the extent that it can be seen from the 
photo) is extremely similar to that of several other linen albs from 
a similar period from all over Europe, although I can't recall that 
any of the others have similar bands of trim on the body.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Mon, 22 Sep 2003 23:26:39 -0500
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: 16th century shoes was RE: [h-cost] da Vinci shoe article -
  NYTimes
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At 08:13 AM 9/21/2003 -0400, you wrote:
>I'm wondering if this writer even knew about pattens, clogs etc.  Anyone
>
>know when the high heels with the *toe on the ground* came in?
> >>>>
>Hi Edwina.
>
>I can tell you that there is an extant shoe from the 1650s or 60s in the
>V&A and it has a raised heel.  It's built like a modern mule: vamp,
>sole, no back.  There is a heel that is higher than the toe, but I doubt
>if it is more than 2" high.
>
>I don't know if there are any extant 16th century shoes.  Anyone?
>
>Kass

Hi Kass,

Yes, I've seen a number of them in the Bata Shoe Museum.  I know in another 
post someone posted the link for it and said there weren't any 16th century 
- there were two on that page, one is one of a pair of gold silk velvet 
Venetian chopines.  They have silk & metal bobbin lace on them and a tassel 
under the toe.  They are absolutely glorious!  (They look just like the 
blue on here http://www.chass.utoronto.ca/~ebernhar/)  Although the webpage 
currently dates them at 1600, when I was there they had them dated slightly 
earlier IIRC.  They have a number of 16th century shoes in their 
collections, I would say probably half of them are mules.  A couple of them 
have what appears to be a wedge like heel (slightly lower in front) but the 
neat thing is, instead of a regular rounded heel, it had a lozenge or 
diamond shape heel, oriented in a cross-like position.

          /\
          /    \
        /       \
        \       /
          \    /
           \ /
          | |
           /  \
Like this only wider (more like a square that was rotated on its corner).

Does that help?  There was even a tiny mule with pinked toe area that was 
only about 4 inches long.

Cheers,
Danielle

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval sleeve question
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On Wed, 24 Sep 2003, Saragrace T. Knauf wrote:

> So are the stories really 12th century or are they passed down from
> the 'real' time period that Arthur 'really' existed (~5th century from
> what I remember).  Does this make how it was done any different?  I
> can imagine something becoming stylized or given symbolically a long
> time after it was done 'for real'.......
> 
> I don't remember when the stories went from the oral tradition to
> actually being written down.

I'm not an Arthurian expert and I'll probably put my foot into it here,
but my understanding is that there are many literary traditions from
different cultures and time periods expounding on the "Arthur" myth. The
stories written in the 12th century are likely to have only sketchy plot
connections to earlier Arthur stories, if that; they form a literary
tradition of their own, and are not written-down versions of long-retold
tales in a continuous tradition the way, say, "Beowulf" might have been.

France, Germany, and England each had their own "take" on the set of
Arthurian characters, with completely different stories or highly
different angles on some of the basic plotlines and characters.

Think about how today's "Smallville" series might compare to the original
1930s Superman -- the same premise for the central character and some of
the same general details, but with new plots, new personalities, and set
in modern-day America, without much worry about whether the current series
is consistent with the standards set by the original comic.

OK, I've pulled out a reference book to clean that up a bit. My reader's
encyclopedia says the earliest extant written references to Arthur are
found in 6th c. Welsh literature; he crops up periodically in other works
over the centuries, including the Mabinogion. A 12th c. historian named
William of Malmesbury mentioned Arthur in a chronicle around 1120, and
Geoffrey of Monmouth went to town with him in 1137, presenting him as a
hero-king figure and introducing such characters as Uther Pendragon and
tying in other vague figures of Welsh legend such as Merlin and Guinevere
to create an elaborate story. Wace, a Norman poet, turned this story into
a verse chronicle called the Roman de Brut, in which the Round Table was
introduced. Chretien de Troyes unified the existing Arthurian materials
into a new narrative form and wrote original tales about many of the
individual characters, such as Lancelot. Meanwhile the English priest
Layamon also built on Wace's Brut, writing an English Arthurian legend of
his own. The Germans picked up the theme in the 13th century. The
developments continue through the 14th c. with such new works as Sir
Gawain and the Green Knight and the Alliterative Morte d'Arthur, and
Malory comes along in the 15th c. with Le Morte d'Arthur, which brought
together and reworked many of the earlier stories. (Above all paraphrased
from Benet's Reader's Encyclopedia. I'm sure this is way too simplified
... Arthuriana is a huge field for literary scholars.)

I think it's safe to say that no material detail of the 12th c. Arthurian
stories would have any connection to anything described in the 6th
century.

--Robin


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Hey, Penny, so glad to hear you're okay!  Even if very frazzled.
Take care of yourself, and your loved ones, and we'll all have any extra
year to make *really* spiffy outfits for the 2004 Costume Ball.  I have
a really horrible idea for an Elizabethan....<weg>
--sue

Penny Ladnier wrote:
> 
> I like Bjarne have been missing in action too.  We've been living a
> nightmare from the past couple of months.
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Date: Wed, 24 Sep 2003 20:25:47 -0700
To: Historical Costume <h-costume@indra.com>
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At 2:24 PM -0400 9/23/03, Kass McGann wrote:
>
>The pattern and garment industries don't base their sizes on runway
>models.  They base their sizes on a statistical norm of the population.
>Recently that norm has been revised in because we Americans are... um...
>"collectively changing shape" shall we say.

Hmm. Then why are so many women one or more "sizes" bigger on the 
bottom than on the top? I heard somewhere years ago (no idea from 
what source, additional weasel-words to taste) that something like 
70% of U.S. women had this particular mismatch. If the companies were 
actually using a statistical sample, I'd think that their ideas on 
what size "top" belongs with what size "bottom" would be more in line 
with the population.

Perhaps I notice it more because I'm among the decidedly pear-shaped, 
but hardly anyone seems to make clothing for women with HIPS. <g>
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Wed, 24 Sep 2003 22:53:39 -0700
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> So what's the worst historical costume book ever printed?  My vote
> goes for Pocock's book with all the badly proportioned re-drawings. 
> Any other votes?

I think that you hit the nail on the head with this one. Badly 
proportioned and wildly inaccurate in terms of waistlines and the 
like.

But coming up quickly are R.Turner Wilcox's Mode (in Costume, Shoes, 
etc ad nauseum) and Iris Brooks.

Kat
<kat@redtrollforge.com>


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Okay, maybe they have the wrong Queen Mary? Maybe it's Queen Mary II (as 
in William and Mary), who was a queen of Scotland (as well as England). 
It's the right shape for the end of her life....

I finally bothered to identify the 'flea in me ear' that's been bugging 
me through this whole discussion.

Just a thought.

Maura

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Kate Bunting
Library, University of Derby

>>> drewscph@post12.tele.dk 09/24/03 07:40pm >>>
>If you want to see pictures of the actual costume i am using as pattern, go
>to their website:http://www.lsh.se/livrustkammaren/ 
>It only works with the swedish text.
>Scroll down on the menubar on the left side
>A menu is called "Se samlingarna"
>Click that.
>On top of the site there is a link called Regentlängd. Click that then you
>get a whole timeline.

I was interested to look at the items from some of the other reigns, such as the bodice worn by Queen Kristina as a baby and the buffcoat and bloodstained shirt worn by her father Gustav Adolf when he was killed.



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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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do bear in mind when complaining about the Peacock book that it was written
in the seventies which accounts for the fashion drawing style by a costume
designer not a historian for the same market and there wasn't much around
then reference wise for grown ups.
I worked with John on several accessions and he was the first to admit it
wasn't the best book but what was wanted at the time. I don't own it btw for
just those reasons

I think we can say the same about many of the other 'bad ones around today.
The kohler book for instance is useful because many garments in there don't
survive any more. Cassin's osprey nelsons navy book is also rather useful
using it atm

My first book which got me hooked when I was 7 from the local library was a
costume timeline book which I still adore. if only for nostalgia reasons

My last a 1911 tailoring magazine for the chauffeurs uniform pattern draft
as I kept getting enquiries for one. There have been rather a lot in between
and still not enough but thankfully they are tax deductible

Dawn



Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6717
> > >I dimly recall hearing "Cassin is awful," but I've never seen it in
> > >person.
> > Pocock's book with all the badly proportioned re-drawings.  Any other
> > votes?


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Date: Thu, 25 Sep 2003 10:24:53 +0100 (BST)
From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] 1st and last books
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 --- Theresa Eacker <theresa@misc.com> wrote: > To Nicole-
> 
> Yes, I absolutely agree with you about the theatrical end-product. The 
> things I made from this book turned out looking exactly like the 
> drawings in the book; at the time I was using Holkeboer, I just hadn't 
> realized the gap that existed between theatrical historical garments and 
> _historical_ historical garb.
> 
> Theresa Eacker

Yep, and I'd just like to say very loudly here that Holkeboer did NOT call her
book 'historical patterns' or 'historically correct/authentic patterns' :-)))

I love her design suggestions, did some nice stencils and embroidery designs
with those. For al sorts of things *G*

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

Email: nicole@kipar.org
URL: http://www.kipar.org

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Average human size?
Date: Thu, 25 Sep 2003 08:07:28 -0400
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Hmm. Then why are so many women one or more "sizes" bigger on the 
bottom than on the top? I heard somewhere years ago (no idea from 
what source, additional weasel-words to taste) that something like 
70% of U.S. women had this particular mismatch. If the companies were 
actually using a statistical sample, I'd think that their ideas on 
what size "top" belongs with what size "bottom" would be more in line 
with the population.
>>>>
I don't know how to answer you, Chris.  I just know that the measurement
charts were revamped a number of years ago to conform better with modern
body shapes.  And one pattern line in particular is revamping them again
(bigger waists versus hips and chest) and it's possible that the
industry will follow suit if that line is successful.

Also, I don't know if it's entirely true that 70% of the population have
bigger bottoms.  I know I do.  But most of my friends have flat bums and
large chests.  I wonder what your source is using as a source.

And don't doubt that the pattern company's source may also be wrong.
They may have taken statistics of women only in major cities, or women
who filled out a questionnaire, or women who bought at a certain store.
Thinking about it, I can't imagine how they could possibly obtain a
representative sample of the population.  It's not like our measurements
are including in census info, you know?

Something else just occurred to me.  Could it be that the garment
industry doesn't pay attention to women's bottoms being a couple sizes
larger because the vast majority of clothing is separates and you can
buy a different size bottom and top?  Just thinking out loud.

All I know is this:  the garment and pattern industries don't make sizes
to be cruel.  They're not in business to make us have bad body images.
They're in business to sell clothing/patterns.  They make sizes to sell
to the broadest segment of the population.  They're very good at
producing what sells.  If 70% of American women couldn't wear their
clothing, they would change their sizing so that they could.

Kass

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Date: Thu, 25 Sep 2003 08:40:02 -0400
To: h-costume@indra.com
From: Brenda <webwarren@earthlink.net>
Subject: Re: Re: [h-cost] Italian Renn project
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Robin Netherton <robin@shell.nightowl.net> wrote:

>On Wed, 24 Sep 2003, Angela F. Lazear wrote:
>
> > They'd also pay about $2500 per gown / outfit for construction for the
> > guests.
>
>Yow, I wish I had an Italian Renn costume to sell you.

I have *one* silk-satin Italian undergown c. 1500 that I can part with. 
It's the only Italian Ren in the garb closet right now, and it's WAAAAYYYYY 
too large for me (made up to about a size 20; I'm currently wearing 10's 
and 12's).

It's a bit plainer than Angela's stuff, though (I tend to let the fabric 
speak for itself; I also don't often have time to embellish).

Privately, I suggested that Angela might want to consider subcontracting 
that part of the project which she cannot complete herself. I don't know 
who I would recommend, though, as all my garb has either been purchased RTW 
(the early stuff, very NOT authentic) or I've made it myself *for* myself.

>For that, I'd be able to make plenty of replacements.

Indeed! OTOH, if I were a contractor negociating for subcontracts, I'd not 
pass on the entire "what they're willing to pay" price to my subcontractors 
-- yet even half of that price could be nice remuneration, depending upon 
the materials costs and labor intensiveness of each outfit.

As far as rental/sale companies, try http://www.pietrolonghi.com/. 
Unfortunately it looks like they only have a handful of "Renaissance" 
costumes available -- and they're not terribly authentic -- but they might 
be worth the inquiry.



Brenda
webwarren@earthlink.net


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Subject: Re: [h-cost] Period Fabrics
Date: Thu, 25 Sep 2003 09:28:29 -0400
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Can anyone give the approximate  width of the fabrics being measured in this
inventory. The shirt yardage jumps out as a lot of cloth using contemporary
average widths.
Kathleen
----- Original Message ----- 
From: "Joe Robertson" <joedr@charter.net>
To: <h-costume@indra.com>
Sent: Tuesday, September 23, 2003 11:01 PM
Subject: [h-cost] Period Fabrics


   I've received lots of good advice on here, so now it's time to go to
the fabric store. The question is, does there exist a one-stop-shop
online for good period fabrics? My guideline for this round of clothing
is King James' highland wardrobe, as recorded by his own treasurer.

Short highland jacket    2 1/4 ells vari-colored velvet
                                    3 ¼ ells green taffeta lining

Tartan trews                   2 ells highland tartan

Long highland shirt           15 ells linen
                                          2 ounces silk thread
                                          4 ells ribbons for wrists of
shirt
As to how some of this would appear in final form, I'm still a but
unsure (but I am listening).  :o)



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Subject: Re: [h-cost] Medieval sleeve question
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----- Original Message ----- 
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 12:18 AM
Subject: RE: [h-cost] Medieval sleeve question


> So are the stories really 12th century or are they passed down from the
> 'real' time period that Arthur 'really' existed (~5th century from what I
> remember).  Does this make how it was done any different?  I can imagine
> something becoming stylized or given symbolically a long time after it was
> done 'for real'.......
>
> I don't remember when the stories went from the oral tradition to actually
> being written down.
>
> Sg

That particular story we were talking about was written by Chrétien de
Troyes around 1170.  The character of Arthur and some of the events might
come from centuries long past, but everything is described in a 12th century
world. There was no jousting in one of the possible "real" Arthur's time,
and the weapons were different. But I don't know of detachable sleeves even
before the 12th C, just after, so that doesn't help me... unless someone
else knows about something like that?
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Subject: Re: [h-cost] Re: Average human size?
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> Perhaps I notice it more because I'm among the decidedly pear-shaped, 
> but hardly anyone seems to make clothing for women with HIPS. <g>

Hey, I'm skinny and I have trouble finding pants big enough in the BUTT! :-)
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Kass McGann wrote:

>And one pattern line in particular is revamping them again
>(bigger waists versus hips and chest) and it's possible that the
>industry will follow suit if that line is successful.
>
>  
>
Do you happen to know which pattern line this is?

liz young


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Robin Netherton wrote:

>On Thu, 25 Sep 2003, Helen Pinto wrote:
>  
>
>>the section on woolen
>>textiles includes lots of interesting twill patterns, as well as
>>striped, plaid and checked cloth.  So there appears to be surface
>>decoration, but it is woven in, not applied.
>>    
>>
>
>And be very careful to consider scale -- some of the stripe patterns are
>small enough to produce a very muted blended look, IIRC.
>  
>
I am working on weaving a length of woolen fabric based on the info from 
the Textiles book. I am using 3 colors of wool, and it is amazing how 
subtle the patterening is.
Which is a long way of saying, 'what Robin said'

liz young


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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: [h-cost] New Hunnisett book due out in Oct
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I was hunting for something else online yesterday(another author Hunnisett
with no title of new book)and came up with a new publication date for
"Period Costume for Stage and Screen: Capes, Dolmans," by the late Jean
Hunnisett. It is supposed to be published in late Oct on the stateside of
the pond according to bn.com   Also listed on Amazon.com

Cindy Abel
CUMC HSL
Creighton University



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unsub


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Subject: Re: [h-cost] Italian Renn project
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Hello Angela

Interesting problem you got your hands on.  I can't help with the rentals,
but I do have time to custom make a few costumes.

Stephen Bergdahl - Lord Vich

"I don't suffer from insanity!  I fact I rather enjoy it!"

----- Original Message -----
From: "Angela F. Lazear" <angelalazear@sbcglobal.net>
To: <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 4:05 PM
Subject: [h-cost] Italian Renn project


> I've just been contacted by a representative for the owner of a major
> airlines. He wants to throw a party in Florida in gorgeous elaborate
Italian
> Rennaisance.  He plans to invite 400 guests.
>
> They'll pay through the nose, but I can't make 400 gowns in two months.
> Anyone got any ideas?  I'd hate to flat turn them down, but I'd be way
over
> my head.  Does anyone but me have a hefty stock they'd rent for $500 per
> outfit?  If we all got together and coordinated, we might be able to help
> them, but I don't know what condition things would be returned.  They'd
also
> pay about $2500 per gown / outfit for construction for the guests. The
date
> is first week November.
>
> angela
> +++++
> Angela F. Lazear
> Cabbage Rose Costumes
> http://www.cabbagerosecostumes.com
> Theatrical Costume Design
>
> "Love all, trust a few, do wrong to none:
> be able for thine enemy rather in power than use,
> and keep thy friend under thy own life's key:
> be checked for silence, but never taxed for speech..."
> W. Shakespeare
>
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] OT gossip of the royals in Denmark
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Hi,
I actually dont know who is going to make the gown.
But i wonder if they will take off the fine Tønder Lace, that Queen
Margrethe II had on her weddingdress. It is a beautifull wide point ground
lace with a big floral heart called " The big heart of Denmark ".
I have made about 15 cm. of this lace, and it took me forever to make. There
are 35 meters of this lace on Margrethes wedding dress.
Perhaps it could be used on Marys wedding dress?
I cant waite to see the dress..............

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 3:12 AM
Subject: Re: [h-cost] OT gossip of the royals in Denmark


> On Wednesday 24 September 2003 12:37 pm, Bjarne og Leif Drews wrote:
> > What do you say.
> > Our Crownprinse Frederik finally desided to get merried.
> > He has chosen a girl named Mary Donaldson from (hold your seat)
Tasmania.
> > They are going to have their wedding in May next year.
>
> Oh, my.  Has the speculation about the design of the bride's gown started
yet?
> :-)
>
>
> --
> Cathy Raymond <cathy@thyrsus.com>
>
> "Adult life seems to be a cross between a zen koan and a cattle stampede."
> --Ozy and Millie
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Cotehardie question
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Hello Kimiko!  
 
By request, here's some pix of me in this outfit. I've put them up on my consulting company website, since I'm not using it for anything else right now.  Temporary storage.  :)
 
http://www.bluecanaryconsulting.com/_wsn/page4.html

Kimiko Small <kimiko@kimiko1.com> wrote:
But I wanted to share a more direct link to your photo, to verify it was 
yours. Sometimes I miscount... and me an accountant!
http://www.pennsic.net/cgi-bin/pennsic/photos03.cgi?cmd=view&id=PW32AS%2DElizabethanGown%2Ejpg&cat=kayleigh
I very much like the dress, but would love to see what you looked in it. 
People so make the outfit.



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	Thu, 25 Sep 2003 08:59:43 PDT
Date: Thu, 25 Sep 2003 08:59:43 -0700 (PDT)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
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Subject: [h-cost] 
	"Awww" story, now leads to mid-14th Cen. help for planning wedding
	clothing!
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Greetings!

After finally reading through all but 40 of the
messages from the past week, I have one to contribute.

At Autumn War last Saturday (SCA event for my area) my
boyfriend of nearly 3 years conspired with a large
number of people to propose to me in Saturday evening
Court.  More amusing than usual, since I'm the current
Baronial Herald, and thus was officiating it for my
Baron and Baroness. (He spent 18 months planning,
nearly 50 or more folks knew and were involved, except
for the Crown Prince who daytripped and was "not
accounted for" but apparently highly amused). (if you
want the more elaborate details and humorous bits, hit
me off-list)

Now, I've been on a quest to try and make fairly
authentic mid-14th clothing for both of us-with me
being Welsh and him Irish, but now I need to plan for
something *special*.  We've agreed to do the
handfasting/betrothal next June at a special SCA
event, and the wedding itself in November 2005-but he
wants both to be in garb, and more elaborate than our
usual stuff! 

The nice thing is that the clothing will then be our
spiffy High Court-type garb. And yes, it can be in two
batches for time's sake. The bad part is that my small
book collection and my brain are not inspiring me yet.
Yes, I've got "Fashion in the Age of the Black Prince"
and notes from Robin's lecture here in the Northwest
last month, but I'm not able to verbalize or draw
anything up that is happy to me.  And knowing me, I
need the time to do this...since it means balancing
son, job, home, betrothed, hobbies and other bits of
life!

"Oy vey!"

Please help?  Any ideas on clothing inspirations? 
Anyone seen something interesting in a household
account or piece of art that I may not have access to?

Jonnalyhn / Angharat

(who is glad we decided on such a nice long time,
since he wants 2 sets of clothing, a chuppah to honor
his mother's line, and more details/people than I
think I can wrap my brain around right now)

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From h-costume-bounces@indra.com  Thu Sep 25 12:16:21 2003
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  "Awww" story, now leads to mid-14th Cen. help for
 planning wedding clothing!
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If you can find it, Margaret Scott's "Visual History of Costume, the 14th
& 15th Centuries" is fantastic for pictures and inspiration.

Contratulations!

Drea


On Thu, 25 Sep 2003, Angharad ver' Reynulf wrote:

> Greetings!
>
> After finally reading through all but 40 of the
> messages from the past week, I have one to contribute.
>
> At Autumn War last Saturday (SCA event for my area) my
> boyfriend of nearly 3 years conspired with a large
> number of people to propose to me in Saturday evening
> Court.  More amusing than usual, since I'm the current
> Baronial Herald, and thus was officiating it for my
> Baron and Baroness. (He spent 18 months planning,
> nearly 50 or more folks knew and were involved, except
> for the Crown Prince who daytripped and was "not
> accounted for" but apparently highly amused). (if you
> want the more elaborate details and humorous bits, hit
> me off-list)
>
> Now, I've been on a quest to try and make fairly
> authentic mid-14th clothing for both of us-with me
> being Welsh and him Irish, but now I need to plan for
> something *special*.  We've agreed to do the
> handfasting/betrothal next June at a special SCA
> event, and the wedding itself in November 2005-but he
> wants both to be in garb, and more elaborate than our
> usual stuff!
>
> The nice thing is that the clothing will then be our
> spiffy High Court-type garb. And yes, it can be in two
> batches for time's sake. The bad part is that my small
> book collection and my brain are not inspiring me yet.
> Yes, I've got "Fashion in the Age of the Black Prince"
> and notes from Robin's lecture here in the Northwest
> last month, but I'm not able to verbalize or draw
> anything up that is happy to me.  And knowing me, I
> need the time to do this...since it means balancing
> son, job, home, betrothed, hobbies and other bits of
> life!
>
> "Oy vey!"
>
> Please help?  Any ideas on clothing inspirations?
> Anyone seen something interesting in a household
> account or piece of art that I may not have access to?
>
> Jonnalyhn / Angharat
>
> (who is glad we decided on such a nice long time,
> since he wants 2 sets of clothing, a chuppah to honor
> his mother's line, and more details/people than I
> think I can wrap my brain around right now)
>
> __________________________________
> Do you Yahoo!?
> The New Yahoo! Shopping - with improved product search
> http://shopping.yahoo.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] Cotehardie question
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Wow! Do you have a more detailed picture of the bodice beading? That is so
beautiful!!!!
----- Original Message ----- 
From: "Jen Small" <jenrsmall@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 11:41 AM
Subject: Re: [h-cost] Cotehardie question


> Hello Kimiko!
>
> By request, here's some pix of me in this outfit. I've put them up on my
consulting company website, since I'm not using it for anything else right
now.  Temporary storage.  :)
>
> http://www.bluecanaryconsulting.com/_wsn/page4.html
>
> Kimiko Small <kimiko@kimiko1.com> wrote:
> But I wanted to share a more direct link to your photo, to verify it was
> yours. Sometimes I miscount... and me an accountant!
>
http://www.pennsic.net/cgi-bin/pennsic/photos03.cgi?cmd=view&id=PW32AS%2DElizabethanGown%2Ejpg&cat=kayleigh
> I very much like the dress, but would love to see what you looked in it.
> People so make the outfit.
>
>
>
> ---------------------------------
> Do you Yahoo!?
> The New Yahoo! Shopping - with improved product search
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Date: Thu, 25 Sep 2003 09:39:49 -0700
Subject: Re: [h-cost] Re: Average human size?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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On 9/25/03 5:07 AM, "Kass McGann" <historian@reconstructinghistory.com>
wrote:

>>>>> 
> I don't know how to answer you, Chris.  I just know that the measurement
> charts were revamped a number of years ago to conform better with modern
> body shapes.  And one pattern line in particular is revamping them again
> (bigger waists versus hips and chest) and it's possible that the
> industry will follow suit if that line is successful.

I don't know which company you're talking about but I know that Sandra
Betzina's patterns for both Vogue and Butterick or McCall's have this added
benefit.
> 
>>>>
> 
> Something else just occurred to me.  Could it be that the garment
> industry doesn't pay attention to women's bottoms being a couple sizes
> larger because the vast majority of clothing is separates and you can
> buy a different size bottom and top?  Just thinking out loud.

Another out-loud thought: so many people have to alter their patterns
drastically. The pattern companies don't know this; they've never asked me
how much I have to alter my patterns to get them to fit.  Patternmakers know
that some of these alterations are happening because they made such a big
deal, especially when they first came out, about multiple sizes on one
pattern. They told us how easy it was to alter from one size to the next.
Most patterns are produced this way, and not just because it's cheaper for
them. 
> 
> All I know is this:  the garment and pattern industries don't make sizes
> to be cruel.  They're not in business to make us have bad body images.
> They're in business to sell clothing/patterns.  They make sizes to sell
> to the broadest segment of the population.  They're very good at
> producing what sells.  If 70% of American women couldn't wear their
> clothing, they would change their sizing so that they could.
> 
> Kass
> 
Certainly, but if they don't realize how much some people have to change
their patterns, they'll never change their sizing.

LynnD

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Thanks to all who helped me try to find a copy of Hald's book. I even went back into the archives
looking for info, but I didn't find out any more than I already knew. ;o<  I coulda *sworn* that it
had been reprinted, but if so I sure can't find out where! I did send a message off to the museum
where it was published asking if they might still have a copy, but I haven't heard back yet. 

I guess I just have to keep watching the used book lists until one comes along that I can afford. I
can't make myself pay $131.00 for it yet! Ouch!!

Pax,  Linda

 





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Date: Thu, 25 Sep 2003 09:46:14 -0700 (PDT)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Cotehardie question
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Jen , that dress is beautiful! I also enjoyed the research sections of your site--since that happens to be the time period and style I've been researching as well:)
thanks so much for sharing!
Albra

Jen Small <jenrsmall@yahoo.com> wrote:
Hello Kimiko! 

By request, here's some pix of me in this outfit. I've put them up on my consulting company website, since I'm not using it for anything else right now. Temporary storage. :)

http://www.bluecanaryconsulting.com/_wsn/page4.html

Kimiko Small wrote:
But I wanted to share a more direct link to your photo, to verify it was 
yours. Sometimes I miscount... and me an accountant!
http://www.pennsic.net/cgi-bin/pennsic/photos03.cgi?cmd=view&id=PW32AS%2DElizabethanGown%2Ejpg&cat=kayleigh
I very much like the dress, but would love to see what you looked in it. 
People so make the outfit.



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From h-costume-bounces@indra.com  Thu Sep 25 13:33:54 2003
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I happen to have Wolfram von Eschenbach's "Parzival" next to my computer, so
I looked up the little girl's sleeve incident (Wolfram retold Parzival as he
thought it ought to have been). The child does give him a sleeve as a favor,
and it's an actual sleeve made as part of a new gown just for the occasion:

"Gawan now removed the Sleeve from his shield most carefully lest he tear it
.... He gave the Sleeve to Clauditte pierced and hacked through though it
was at its middle and end, and asked her to take it to Obilot.

"When the girl saw it she was overjoyed! Her white arm had been left bare,
and she quickly fastened it over."

(translation by A.T. Hatto)

This is one of my favorite medieval poems, I heartily recommend it. However,
the fact that Wolfram wrote this does not mean that it was really done. He
copied extensively from Chretien de Troyes, and may simply have been
repeating that story. You have to remember that one of his main characters
is an "infidel" scholars all identify as Muslim, but he doesn't know
anything about Islam, so all the man talks about is Juno and Jupiter!

I would say the matter bears more study.

Gail Finke


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: RE: [h-cost] About "Danish Textiles"
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Well, that's still a better price than Amazon.com--who wanted $245.  for their copy.Yikes! REALLY big ouch!!
Albra

Linda Rice <vmaa2@cox.net> wrote:
Thanks to all who helped me try to find a copy of Hald's book. I even went back into the archives
looking for info, but I didn't find out any more than I already knew. ;o< I coulda *sworn* that it
had been reprinted, but if so I sure can't find out where! I did send a message off to the museum
where it was published asking if they might still have a copy, but I haven't heard back yet. 

I guess I just have to keep watching the used book lists until one comes along that I can afford. I
can't make myself pay $131.00 for it yet! Ouch!!

Pax, Linda







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From h-costume-bounces@indra.com  Thu Sep 25 14:03:59 2003
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] About "Danish Textiles"
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Linda,

I got my copy from the Danish museum.  I emailed jonna.horning@natmus.dk
and asked for an invoice, which she sent, which I filled out and sent back
with the payment.  When I bought it, it was around $50 (excluding
shipping.)

Good luck,

Drea


On Thu, 25 Sep 2003, KATHRYN WOLTERS wrote:

> Well, that's still a better price than Amazon.com--who wanted $245.  for their copy.Yikes! REALLY big ouch!!
> Albra
>
> Linda Rice <vmaa2@cox.net> wrote:
> Thanks to all who helped me try to find a copy of Hald's book. I even went back into the archives
> looking for info, but I didn't find out any more than I already knew. ;o< I coulda *sworn* that it
> had been reprinted, but if so I sure can't find out where! I did send a message off to the museum
> where it was published asking if they might still have a copy, but I haven't heard back yet.
>
> I guess I just have to keep watching the used book lists until one comes along that I can afford. I
> can't make myself pay $131.00 for it yet! Ouch!!
>
> Pax, Linda
>
>
>
>
>
>
>
> _______________________________________________
> 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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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20030925154151.57390.qmail@web80502.mail.yahoo.com>
Subject: Re: [h-cost] Cotehardie question
Date: Thu, 25 Sep 2003 20:38:30 +0200
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Hi.
Thanks for the look of your beautifull italian renaissance dress. Oh it is
beautifull! Lovely work!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Jen Small" <jenrsmall@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 5:41 PM
Subject: Re: [h-cost] Cotehardie question


> Hello Kimiko!
>
> By request, here's some pix of me in this outfit. I've put them up on my
consulting company website, since I'm not using it for anything else right
now.  Temporary storage.  :)
>
> http://www.bluecanaryconsulting.com/_wsn/page4.html
>
> Kimiko Small <kimiko@kimiko1.com> wrote:
> But I wanted to share a more direct link to your photo, to verify it was
> yours. Sometimes I miscount... and me an accountant!
>
http://www.pennsic.net/cgi-bin/pennsic/photos03.cgi?cmd=view&id=PW32AS%2DEli
zabethanGown%2Ejpg&cat=kayleigh
> I very much like the dress, but would love to see what you looked in it.
> People so make the outfit.
>
>
>
> ---------------------------------
> Do you Yahoo!?
> The New Yahoo! Shopping - with improved product search
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost]  "Awww" story, now leads to mid-14th Cen. help for
	planning wedding clothing!
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Drea,

Thank you.

I'll go put it back on hold.  I've had several pages
copied before for research, but there might be
something else I missed for a fancy one.

Angharad

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<<Thanks to all who helped me try to find a copy of Hald's book. I even went back into the archives
looking for info, but I didn't find out any more than I already knew. ;o<  I coulda *sworn* that it
had been reprinted, but if so I sure can't find out where! I did send a message off to the museum
where it was published asking if they might still have a copy, but I haven't heard back yet.>>

I purchased an English language copy from the museum for approximately $50 USD including shipping. It was about two years ago and they were quite helpful.  

Colleen


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Date: Thu, 25 Sep 2003 18:47:26 +0100
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost]  "Awww" story, now leads to mid-14th Cen. help for
	planning wedding clothing!
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I just went to my copy of this, because I'm pretty sure it's out of 
print.  This brass caught my eye -

http://www.dr-originals.co.uk/gallerydetail.htm

The overgarments are very plain on the outside, but the underdresses and 
where the linings show are exuberantly covered in scrolling plant 
designs. That could be lots of fun.  Do you have long hair (or 
hairpieces?)  how about doing the fancy plaits to start with, and 
modestly covering it with a veil either as part of the ceremony or 
afterwards?

Jean

Drea Leed <drea@nospam> wrote
>If you can find it, Margaret Scott's "Visual History of Costume, the 14th
>& 15th Centuries" is fantastic for pictures and inspiration.
>
>Contratulations!
>
>Drea
>
>
>On Thu, 25 Sep 2003, Angharad ver' Reynulf wrote:
>
>> Greetings!
>>
>> After finally reading through all but 40 of the
>> messages from the past week, I have one to contribute.
>>
>> At Autumn War last Saturday (SCA event for my area) my
>> boyfriend of nearly 3 years conspired with a large
>> number of people to propose to me in Saturday evening
>> Court.  More amusing than usual, since I'm the current
>> Baronial Herald, and thus was officiating it for my
>> Baron and Baroness. (He spent 18 months planning,
>> nearly 50 or more folks knew and were involved, except
>> for the Crown Prince who daytripped and was "not
>> accounted for" but apparently highly amused). (if you
>> want the more elaborate details and humorous bits, hit
>> me off-list)
>>
>> Now, I've been on a quest to try and make fairly
>> authentic mid-14th clothing for both of us-with me
>> being Welsh and him Irish, but now I need to plan for
>> something *special*.  We've agreed to do the
>> handfasting/betrothal next June at a special SCA
>> event, and the wedding itself in November 2005-but he
>> wants both to be in garb, and more elaborate than our
>> usual stuff!
>>
>> The nice thing is that the clothing will then be our
>> spiffy High Court-type garb. And yes, it can be in two
>> batches for time's sake. The bad part is that my small
>> book collection and my brain are not inspiring me yet.
>> Yes, I've got "Fashion in the Age of the Black Prince"
>> and notes from Robin's lecture here in the Northwest
>> last month, but I'm not able to verbalize or draw
>> anything up that is happy to me.  And knowing me, I
>> need the time to do this...since it means balancing
>> son, job, home, betrothed, hobbies and other bits of
>> life!
>>
>> "Oy vey!"
>>
>> Please help?  Any ideas on clothing inspirations?
>> Anyone seen something interesting in a household
>> account or piece of art that I may not have access to?
>>
>> Jonnalyhn / Angharat
>>
>> (who is glad we decided on such a nice long time,
>> since he wants 2 sets of clothing, a chuppah to honor
>> his mother's line, and more details/people than I
>> think I can wrap my brain around right now)
>>
>> __________________________________
>> Do you Yahoo!?
>> The New Yahoo! Shopping - with improved product search
>> http://shopping.yahoo.com
>> _______________________________________________
>> 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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-- 
Jean Waddie
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At 08:41 AM 9/25/2003 -0700, you wrote:
>Hello Kimiko!
>
>By request, here's some pix of me in this outfit. I've put them up on my 
>consulting company website, since I'm not using it for anything else right 
>now.  Temporary storage.  :)
>
>http://www.bluecanaryconsulting.com/_wsn/page4.html


Hi Jen,

Wow!

Thanks so much for sharing. I love the beading you did. Did you follow any 
fabric patterning? Or was it done freehand? And I like what you did for the 
sleeves.

I also like your research area as well. I have been wanting to make an 
Italian dress, and looking at your images I can see I won't look so out of 
place being a larger woman. You have really inspired me with all of this. 
Thanks!!!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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At 09:28 AM 9/25/2003 -0400, you wrote:
>Can anyone give the approximate  width of the fabrics being measured in this
>inventory. The shirt yardage jumps out as a lot of cloth using contemporary
>average widths.

I had the width info in my notes on Scottish stuff folder, but I gave that 
folder to my old Guild. They are defunct, so I may ask for it back.

I think the width was around 27"-30", but it's been years so it could be a 
few inches more or less.

>Kathleen
>----- Original Message -----
>Long highland shirt           15 ells linen
>                                           2 ounces silk thread
>                                           4 ells ribbons for wrists of shirt

Also, the books note that the 15 ells were for two or three shirts, so it 
isn't as much fabric for each shirt as originally seems.

hth

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost]  "Awww" story,
 now leads to mid-14th Cen. help  for planning wedding clothing!
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At 08:59 AM 9/25/2003 -0700, you wrote:
>At Autumn War last Saturday (SCA event for my area) my
>boyfriend of nearly 3 years conspired with a large
>number of people to propose to me in Saturday evening
>Court.


Congratulations!!!!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From h-costume-bounces@indra.com  Thu Sep 25 15:57:38 2003
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	Thu, 25 Sep 2003 12:49:56 PDT
Date: Thu, 25 Sep 2003 12:49:56 -0700 (PDT)
From: Jen Small <jenrsmall@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Thanks, and another question
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Thanks everyone for the great feedback!  I should say that I have NO documentation for surface embellishment on the front of an Italian late-period dress, but I just couldn't resist.
 
And thank you for the advice and resources re: cotehardies.  Take a look at this Italian one -- it looks like trim across the neck and shoulders.  Bottom left-hand corner of the page: http://www.bluecanaryconsulting.com/_wsn/page3.html
 
So here's my next question:
 
There are these two paintings of Mary Magdalene by Crivelli...(http://www.bluecanaryconsulting.com/_wsn/page3.html at the top of this page)
 
I've looked at a lot of Italian clothes from this period (1480-1520), and these are the only examples I've seen with clasps on the sides of the bodice, open with a center piece like this.  
 
Now, my feeling is that this is probably symbolic, as prevailing belief at the time was that Magdalene was a 'loose' woman, and her partially open bodice would be an indicator.  
 
However, why would you show a placket then, of a specific color?  Is this an overgown/undergown situation?  Is it plausible to do this 'open clasp' look?  Has anyone seen anything else remotely like this, closed or open?
 
 
Thanks!
 
--Jen


Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
Hi.
Thanks for the look of your beautifull italian renaissance dress. Oh it is
beautifull! Lovely work!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Jen Small" 
To: "Historical Costume" 
Sent: Thursday, September 25, 2003 5:41 PM
Subject: Re: [h-cost] Cotehardie question


> Hello Kimiko!
>
> By request, here's some pix of me in this outfit. I've put them up on my
consulting company website, since I'm not using it for anything else right
now. Temporary storage. :)
>
> http://www.bluecanaryconsulting.com/_wsn/page4.html
>
> Kimiko Small wrote:
> But I wanted to share a more direct link to your photo, to verify it was
> yours. Sometimes I miscount... and me an accountant!
>
http://www.pennsic.net/cgi-bin/pennsic/photos03.cgi?cmd=view&id=PW32AS%2DEli
zabethanGown%2Ejpg&cat=kayleigh
> I very much like the dress, but would love to see what you looked in it.
> People so make the outfit.
>
>
>
> ---------------------------------
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From h-costume-bounces@indra.com  Thu Sep 25 16:01:29 2003
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If you're looking for that many Italian Renaissance items, I'd suggest contacting your local SCA group, or even within reasonable UPS distance of your area,  to see if any members might be willing to rent one or more of their costumes at a negotiated price.  If you're talking $500 a pop, I'd be stunned if you didn't have quite a number of interested parties of all shapes and sizes.

Pallas
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From h-costume-bounces@indra.com  Thu Sep 25 17:23:37 2003
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From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] About "Danish Textiles"
Date: Thu, 25 Sep 2003 17:22:08 -0400
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Thank You!!! I'm sure this is better than just writing to the general address that was on the
website. I *think* it was to the gift shop, but since I don't speak Danish, I'm not 100% sure!
I've wanted this book for years, and now I'm on a mission to get it, if I can. ;o>

::Linda::

 -----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of Drea Leed
Sent: Thursday, September 25, 2003 2:03 PM
To: Historical Costume
Subject: RE: [h-cost] About "Danish Textiles"

Linda,

I got my copy from the Danish museum.  I emailed jonna.horning@natmus.dk
and asked for an invoice, which she sent, which I filled out and sent back
with the payment.  When I bought it, it was around $50 (excluding
shipping.)

Good luck,

Drea



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Thanks, and another question
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On Thu, 25 Sep 2003, Jen Small wrote:

> And thank you for the advice and resources re: cotehardies.  Take a
> look at this Italian one -- it looks like trim across the neck and
> shoulders.  Bottom left-hand corner of the page:
> http://www.bluecanaryconsulting.com/_wsn/page3.html

Yes. I've never figured this one out, and there are a few others like it.
This is one reason I stay away from Italy; my brain doesn't work there ;-)

> So here's my next question:
>  There are these two paintings of Mary Magdalene by
> Crivelli...(http://www.bluecanaryconsulting.com/_wsn/page3.html at the
> top of this page)  I've looked at a lot of Italian clothes from this
> period (1480-1520), and these are the only examples I've seen with
> clasps on the sides of the bodice, open with a center piece like this.

Ah, this is one I *do* know about, as my research partner Verna Rutz got
fascinated with these two images, and I was working on saints at the same
time. So we collaborated on a couple of papers at Kalamazoo one year -- I
spoke about Mary Magdalen symbolism in medieval artistic tradition, and
Verna focused on the Crivelli interpretation in light of that, using these
two paintings as examples and talking about the real elements and the
symbolic overlays. We recreated the dress, too, and I got to model it.
Verna gave this talk again a few years ago at the first KWCS, so some
people on this list saw the dress at that session.

> Now, my feeling is that this is probably symbolic, as prevailing
> belief at the time was that Magdalene was a 'loose' woman, and her
> partially open bodice would be an indicator. 

That's part of it, though it can be a little more complex. There are many
15th century Flemish examples of showing Magdalen with a partially open
bodice, which can be seen as either sexy/wanton, or distressed, or even as
"unworldly" attitude by a woman with very worldly clothes (e.g. to say
"here is a courtesan who turned to more spiritual concerns"). All these
meanings probably got bundled up into the habit of showing Magdalen
half-laced-up. Italian and Flemish art had a lot of interaction, and
you'll find a lot of the artistic vocabulary repeated from one culture to
the other.

Magdalen also often provided artists with the opportunity to do really
fancy, flashy, cutting-edge fashions.  You can write off her overabundance
of trim as being Magdalen-specific extravagance overlaid on a generally
realistic style.

> However, why would you show a placket then, of a specific color?  Is
> this an overgown/undergown situation?  Is it plausible to do this
> 'open clasp' look?  Has anyone seen anything else remotely like this,
> closed or open?

We read it as an overgown/undergown.

When we worked on the dress, we found that what looks like a "sweetheart"
shape or curve to the open part of the overdress neckline (particularly
visible in the right-hand image) was actually a straight line. If you get
a good close-up of the image, you can follow the brocade pattern
(half-buried under all that gold trim) in a straight line up the edge. The
curve is what you get with a straight-front closure on a rather busty
woman, if you undo the closure just halfway down. The undone part springs
open, pulling away from center. (We actually figured this out when I was
changing out of a button-down modern blouse, and caught sight of myself in
a mirror with my blouse half-undone. I saw the same curve, and there we
had it.)

In a couple of Crivelli's other saint pictures -- I think one of the
Virgin and one of St. Catherine, but I'd have to look -- these more
"proper" women are wearing the same style of front closure, but done up
all the way, in a straight line.

So, we reconstructed the overdress as having a tight bodice with a
straight-front closure, which we then opened halfway (I have a large bust
and narrow waist, so it sprang open into that shape perfectly). I wore it
over a plainer underdress, which then showed at the opening of the neck.
Underdresses of this type are well established in Italy and Flanders both;
I'd earlier made a Flemish version. The only difference from my Flemish
underdress was that I pleated the skirt into the bodice all the way around
for the Italian version.  The underdress is sleeveless -- plenty of
evidence for that style in Italy at this time, IIRC -- so the chemise
shows out from the openings in the overdress sleeve.

For the "clasps," I found jewelry findings at a craft store of the right
shape that had three holes on one side and one hole on the other. I turned
them sideways and sewed the three holes to the fabric, and pointed the
single hole to the center. I then laced up the dress through the holes. In
other words, we used them as lacing mounts, not clasps per se. I think a
good close-up on at least some of the Crivellis show that these are laced,
not individually fastened the way, say, cloak clasps might be. But I'd
have to look at the sources again, and I don't have the Crivelli book.

--Robin

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Linda Rice wrote:
> Thanks to all who helped me try to find a copy of Hald's book. I even went back into the archives
> looking for info, but I didn't find out any more than I already knew. ;o<  I coulda *sworn* that it
> had been reprinted, but if so I sure can't find out where! I did send a message off to the museum
> where it was published asking if they might still have a copy, but I haven't heard back yet. 

	Good luck getting the museum to answer. I have NEVER gotten 
them to get back to me! Maybe you'll be lucky?


>  I guess I just have to keep watching the used book lists until one comes along that I can afford. I
> can't make myself pay $131.00 for it yet! Ouch!!
	I even looked through bookfinder.com and amazon was listed 
at close on $185 for new, and the only other used ones were 
all in Denmark and costing over $100 anyway. Nothing came up 
on half.com either. I'd suggest keeping an eye out on David 
Brown Books (they don't list either at the moment), they are 
usually the ones who carry it when we've all bought ours. 
Good luck!

	-Judy Mitchell

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: medieval sleeve favor
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Gail & Scott Finke wrote:

>I happen to have Wolfram von Eschenbach's "Parzival" next to my computer, so
>I looked up the little girl's sleeve incident (Wolfram retold Parzival as he
>thought it ought to have been). The child does give him a sleeve as a favor,
>and it's an actual sleeve made as part of a new gown just for the occasion:
>
>"Gawan now removed the Sleeve from his shield most carefully lest he tear it
>.... He gave the Sleeve to Clauditte pierced and hacked through though it
>was at its middle and end, and asked her to take it to Obilot.
>
>"When the girl saw it she was overjoyed! Her white arm had been left bare,
>and she quickly fastened it over."
>
>(translation by A.T. Hatto)
>
>  
>

Here is a translation by Helen M. Mustard and Charles E. Passage, 
Vintage books 1961 of the section where Gawan gets the sleeve:

Book 7, section 375 and 376
Gawan has agreed to accept a token from Obilot. Obilot does not have 
anything suitable to give him, so her father asks that she be given a 
better dress. She gets two dresses cut for her, a simple one and a rich one.
"Of pfellel-silk interwoven with gold they cut out a dress for the 
little lady. Her one arm had to be left bare, for they took away that 
sleeve to give to Gawan...It had rested on her right arm but was not 
sewed to the dress..."
"Gawan...had three shields, and on the one he straightway nailed the 
sleeve."

390 - 391
"Over her bare white arm she drew it on, and walking back and forth...."

The translators make a note during the 1st section that the woman would 
normally have given a sleeve from an already existing dress, rather than 
a new sleeve. They give no basis for that claim.

liz young, geeking on the Germans



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From h-costume-bounces@indra.com  Thu Sep 25 19:37:59 2003
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Subject: [h-cost] Re:  About "Danish Textiles"
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One of the wonderful things about Denmark, is that 99% of the population 
speaks English.  It's taught in the schools and is everywhere in the media.  
You can be fairly certain that the receiver of your email will be able to 
understand and respond in English.  And if they can't, then the person who 
sits in the office next door will most likely be able to.

Denmark is such a fabulous country!  I love the people, the food, the 
scenery, the culture, the heritage and of course the fantastic embroidery 
that comes from our friend Bjarne!!!  I'm a walking travel brochure...

Good luck with getting the book!

:)  jessica


>
>Thank You!!! I'm sure this is better than just writing to the general 
>address that was on the
>website. I *think* it was to the gift shop, but since I don't speak Danish, 
>I'm not 100% sure!
>I've wanted this book for years, and now I'm on a mission to get it, if I 
>can. ;o>
>
>::Linda::

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From h-costume-bounces@indra.com  Thu Sep 25 19:41:58 2003
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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Lacing Hooks was "Thanks, and another question"
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Hi all...

Robin,  thanks so much for posting your interpretation of the Magdalen 
dresses.  I found the artistic interpretation to be especially helpful.
When I made a reconstruction of this dress I was fortunate enough to have a 
good friend cast the lacing hooks for me.  They are an ingenious little 
device  with a lacing hole (rather square-ish) on one end,  and a small 
hook to go through an eyelet on the other.  Why this particular device 
caught on in some areas I haven't discovered yet.  But in my searching I 
have found more evidence of the Flanders/Italy cross pollination you 
mention.  These little hooks - or something darn similar - are seen in some 
of the Flemish paintings also.

Fascinating stuff.
Bridgette


>So, we reconstructed the overdress as having a tight bodice with a
>straight-front closure, which we then opened halfway (I have a large bust
>and narrow waist, so it sprang open into that shape perfectly). I wore it
>over a plainer underdress, which then showed at the opening of the neck.
>Underdresses of this type are well established in Italy and Flanders both;
>I'd earlier made a Flemish version. The only difference from my Flemish
>underdress was that I pleated the skirt into the bodice all the way around
>for the Italian version.  The underdress is sleeveless -- plenty of
>evidence for that style in Italy at this time, IIRC -- so the chemise
>shows out from the openings in the overdress sleeve.
>
>For the "clasps," I found jewelry findings at a craft store of the right
>shape that had three holes on one side and one hole on the other. I turned
>them sideways and sewed the three holes to the fabric, and pointed the
>single hole to the center. I then laced up the dress through the holes. In
>other words, we used them as lacing mounts, not clasps per se. I think a
>good close-up on at least some of the Crivellis show that these are laced,
>not individually fastened the way, say, cloak clasps might be. But I'd
>have to look at the sources again, and I don't have the Crivelli book.

Mari Stewart,  Cornell University, Ithaca, NY 

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Date: Thu, 25 Sep 2003 17:17:15 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: worst book (was [h-cost] Books
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>Another good book i loved a lot. Was a book where you could cut out the
>figures and costumes, fold them and bend them, whatever- and glue them
>together. They became 3  dimensional costume dolls.
>Beginning with a lady with a big hennin, and ending with an edwardian lady.
>The renaissance figure was a drum shaped farthingale with a fan ruff. They
>also had backgrounds you could place each doll in the correct background,
>I made them all and my room was full of these dolls

I got one of these and regretted having cut it up.  I was able to find 
another one and won't cut it up.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

              //// \\\
             ////-@@\\\
            ((((   7 )))
             (((  <> ))))
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Subject: Re: [h-cost] Italian Renn project
Date: Thu, 25 Sep 2003 17:36:28 -0700
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Well I'm going to sit down and see, first if they're really serious (this
woman may just be thinking rich folks will spend money, I've always found
the opposite to be the case) and then see if I can get enough sub
contractors together to make it worthwhile, at those prices, obviously, we'd
all be crazy not to make a few ... I'll keep you in the loop.

angela
----- Original Message ----- 
From: "Stephen Bergdahl" <madlystitching@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 7:54 AM
Subject: Re: [h-cost] Italian Renn project


> Hello Angela
>
> Interesting problem you got your hands on.  I can't help with the rentals,
> but I do have time to custom make a few costumes.
>
> Stephen Bergdahl - Lord Vich
>
> "I don't suffer from insanity!  I fact I rather enjoy it!"
>
> ----- Original Message -----
> From: "Angela F. Lazear" <angelalazear@sbcglobal.net>
> To: <h-costume@indra.com>
> Sent: Wednesday, September 24, 2003 4:05 PM
> Subject: [h-cost] Italian Renn project
>
>
> > I've just been contacted by a representative for the owner of a major
> > airlines. He wants to throw a party in Florida in gorgeous elaborate
> Italian
> > Rennaisance.  He plans to invite 400 guests.
> >
> > They'll pay through the nose, but I can't make 400 gowns in two months.
> > Anyone got any ideas?  I'd hate to flat turn them down, but I'd be way
> over
> > my head.  Does anyone but me have a hefty stock they'd rent for $500 per
> > outfit?  If we all got together and coordinated, we might be able to
help
> > them, but I don't know what condition things would be returned.  They'd
> also
> > pay about $2500 per gown / outfit for construction for the guests. The
> date
> > is first week November.
> >
> > angela
> > +++++
> > Angela F. Lazear
> > Cabbage Rose Costumes
> > http://www.cabbagerosecostumes.com
> > Theatrical Costume Design
> >
> > "Love all, trust a few, do wrong to none:
> > be able for thine enemy rather in power than use,
> > and keep thy friend under thy own life's key:
> > be checked for silence, but never taxed for speech..."
> > W. Shakespeare
> >
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Subject: Re: [h-cost] Italian Renn project
Date: Thu, 25 Sep 2003 17:37:28 -0700
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I'm having trouble believing it's for real, but would kick myself if I
didn't check it out.

a
----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 24, 2003 10:35 PM
Subject: Re: [h-cost] Italian Renn project


>
> On Wed, 24 Sep 2003, Angela F. Lazear wrote:
>
> > They'd also pay about $2500 per gown / outfit for construction for the
> > guests.
>
> Yow, I wish I had an Italian Renn costume to sell you. For that, I'd be
> able to make plenty of replacements.
>
> --Robin
>
> _______________________________________________
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Sorry, those last were meant to be off list!

a
----- Original Message ----- 
From: "Cabbage Rose" <cabbagerose@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 5:37 PM
Subject: Re: [h-cost] Italian Renn project


> I'm having trouble believing it's for real, but would kick myself if I
> didn't check it out.
>
> a
> ----- Original Message ----- 
> From: "Robin Netherton" <robin@shell.nightowl.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, September 24, 2003 10:35 PM
> Subject: Re: [h-cost] Italian Renn project
>
>
> >
> > On Wed, 24 Sep 2003, Angela F. Lazear wrote:
> >
> > > They'd also pay about $2500 per gown / outfit for construction for the
> > > guests.
> >
> > Yow, I wish I had an Italian Renn costume to sell you. For that, I'd be
> > able to make plenty of replacements.
> >
> > --Robin
> >
> > _______________________________________________
> > 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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From h-costume-bounces@indra.com  Thu Sep 25 21:16:27 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] Italian Renn project
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I'd be interested too Angela.  I'm just finishing a temp job in a week,
although there is always another around the corner, but I could take a
break.  I also sent another email to you privately but received a message
that is had a non-fatal error and was yet to be delivered.  In it, I
mentioned that I not so long ago joining the Professional Association of
Custom Clothiers and would be happy to post a message for you there seeking
costumer's if you wish.

Will be interesting to see what develops.

Lisa


----- Original Message -----
From: "Cabbage Rose" <cabbagerose@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 5:36 PM
Subject: Re: [h-cost] Italian Renn project


> Well I'm going to sit down and see, first if they're really serious (this
> woman may just be thinking rich folks will spend money, I've always found
> the opposite to be the case) and then see if I can get enough sub
> contractors together to make it worthwhile, at those prices, obviously,
we'd
> all be crazy not to make a few ... I'll keep you in the loop.
>
> angela
> ----- Original Message -----
> From: "Stephen Bergdahl" <madlystitching@earthlink.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, September 25, 2003 7:54 AM
> Subject: Re: [h-cost] Italian Renn project
>
>
> > Hello Angela
> >
> > Interesting problem you got your hands on.  I can't help with the
rentals,
> > but I do have time to custom make a few costumes.
> >
> > Stephen Bergdahl - Lord Vich
> >
> > "I don't suffer from insanity!  I fact I rather enjoy it!"
> >
> > ----- Original Message -----
> > From: "Angela F. Lazear" <angelalazear@sbcglobal.net>
> > To: <h-costume@indra.com>
> > Sent: Wednesday, September 24, 2003 4:05 PM
> > Subject: [h-cost] Italian Renn project
> >
> >
> > > I've just been contacted by a representative for the owner of a major
> > > airlines. He wants to throw a party in Florida in gorgeous elaborate
> > Italian
> > > Rennaisance.  He plans to invite 400 guests.
> > >
> > > They'll pay through the nose, but I can't make 400 gowns in two
months.
> > > Anyone got any ideas?  I'd hate to flat turn them down, but I'd be way
> > over
> > > my head.  Does anyone but me have a hefty stock they'd rent for $500
per
> > > outfit?  If we all got together and coordinated, we might be able to
> help
> > > them, but I don't know what condition things would be returned.
They'd
> > also
> > > pay about $2500 per gown / outfit for construction for the guests. The
> > date
> > > is first week November.
> > >
> > > angela
> > > +++++
> > > Angela F. Lazear
> > > Cabbage Rose Costumes
> > > http://www.cabbagerosecostumes.com
> > > Theatrical Costume Design
> > >
> > > "Love all, trust a few, do wrong to none:
> > > be able for thine enemy rather in power than use,
> > > and keep thy friend under thy own life's key:
> > > be checked for silence, but never taxed for speech..."
> > > W. Shakespeare
> > >
> > > _______________________________________________
> > > 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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Subject: Re: [h-cost] Thanks, and another question
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> And thank you for the advice and resources re: cotehardies.  Take a look
at this Italian one -- it looks like trim across the neck and shoulders.
Bottom left-hand corner of the page:
http://www.bluecanaryconsulting.com/_wsn/page3.html

As Robin said the Italians were doing different things;) I've even found
images that show a waist seam.. or rather a top of the hips seam. Two of
which have a different colour to the top than the skirt... one is actually
early 15thC though.

And this happens to be one of my favourite paintings:) I'm collecting bits
to make it eventually. But I'll be making it in wool. I love the stuff.

I would really recommend using a raglan sleeve for this. I'm just working on
my Anna Meyer dress (on hold as I attempt to lose weight again;) ) and the
raglan sleeves make such a difference. You can get that off the shoulder
look without it actually falling right off the shoulders. They do stay right
there. Especially with a fitted sleeve.

Unfortunately as I'm hand sewing the thing fitting is a real pain. I may use
a wide stitch on my machine to speed the fitting process then take the
stitches ou once i've sewn.
http://costumes.glittersweet.com/annameyer.htm

I won't give my views on the Magdalen dresses. I love allaegorical art, and
plan on reproducing some one day (Flemish though). But it's a tiring
subject;)

michaela
http://costumes.glittersweet.com


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From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] Thanks, and another question
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> images that show a waist seam.. or rather a top of the hips seam. Two of
> which have a different colour to the top than the skirt... one is actually
> early 15thC though.

	Would you mind sharing what these two images are?

thanks,
annora

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: [h-cost] Fun time machine question
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I admit to pinching this from another list but it was too good to resist doing so.

The question is:  "if you could spend a week (we all know that a day just wouldn't be enough)
with someone in the past or present to learn about the art of sewing/designing, etc. who would you pick?"

This one is really tough for me.  I know I would have loved to chat with Joseph Campbell or Marshall McCulan but sewing, I'm still thinking.  I'm pretty interested at the moment in knowing how those 16th century laundresses kept their poking sticks clean enough to press those white linen ruffs, but no doubt someone else might come to mind that I'd give preference to.

How about the rest of you?

Lisa Sinervo
www.thrednedlestrete.com
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From h-costume-bounces@indra.com  Fri Sep 26 01:15:05 2003
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Subject: [h-cost] Another Italian question
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Hello list,

My forte is Italian rennaisance dress.  I love it.  But one thing has
stumped me beyond belief and I am hoping someone out there can help me.

I was in the process of making a late rennaisance Italian dress like this
one...

http://www.culture.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=AUTR&VALUE_1=MORONI%20Giambattista&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECKED

I had made the corset and had patterned the bodice already when I
attempted to re-create the ruffled edge of the chemise that shows at the
top of the collar.  I just could NOT get it to work!!  It is not a ruff
(which I *do* know how to make).  It is a ruffled edge of the chemise that
stands up and out of the collar.

If anyone has tried this and has some pointers, I will gratefully learn
from your experience because I love the look and would still like to make
one some day....

TIA,

Diana


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From h-costume-bounces@indra.com  Fri Sep 26 01:22:36 2003
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Can I spend a week with Charles Worth or Emile Pingat?  :)

- Kendra

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From h-costume-bounces@indra.com  Fri Sep 26 03:39:04 2003
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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: [h-cost] Thank you
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Thank you for understanding why I am not having the Online Costume Ball this
year.  It gave me great comfort with the letters of support that people
sent.  You all are wonderful caring people.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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Subject: Re: [h-cost] Another Italian question
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>>> dch@inreach.com 09/26/03 06:13am >>> wrote:

>I was in the process of making a late rennaisance Italian dress like
this
>one...

http://www.culture.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=AUTR&VALUE_1=MORONI%20Giambattista&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECKED


>I had made the corset and had patterned the bodice already when I
>attempted to re-create the ruffled edge of the chemise that shows at
the
>top of the collar.  I just could NOT get it to work!!  It is not a
ruff
>(which I *do* know how to make).  It is a ruffled edge of the chemise
that
>stands up and out of the collar.

I haven't made one, but it reminds me of the neck frills worn by some
boy choristers. They are not attached to a garment, but consist of a
ruffle stitched to a neckband which is worn inside the stand-up collar
of the cassock. Presumably in period the shirt/chemise would be made
with a high neckband and the ruffle sewn to that?



Kate Bunting
Library, University of Derby
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From h-costume-bounces@indra.com  Fri Sep 26 04:38:48 2003
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	<4.3.1.2.20030923190840.0519c9d0@mail.frys.com>
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Subject: Re: worst book (was [h-cost] Books
Date: Fri, 26 Sep 2003 20:37:28 +1200
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> >Another good book i loved a lot. Was a book where you could cut out the
> >figures and costumes, fold them and bend them, whatever- and glue them
> >together. They became 3  dimensional costume dolls.
> >Beginning with a lady with a big hennin, and ending with an edwardian
lady.
> >The renaissance figure was a drum shaped farthingale with a fan ruff.
They
> >also had backgrounds you could place each doll in the correct background,
> >I made them all and my room was full of these dolls

That was the one with really wicked 70s style patterns on the fabric right?
I got some copies of a book in a library in another city... I made a copy of
the copy before cutting anything out.

They were a really neat idea.

michaela
http://costumes.glittersweet.com


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> > images that show a waist seam.. or rather a top of the hips seam. Two of
> > which have a different colour to the top than the skirt... one is
actually
> > early 15thC though.
> Would you mind sharing what these two images are?

Sure.. I have the links of a few... but two are from a scan in my book
Medieval Art of Love.

The links were given to me after I asked about an image in the aotc list on
yahoo (age of the cotehardie's new group that is.)

"I didn't upload it, but here's a copy of it from the Web Gallery of Art:

http://gallery.euroweb.hu/art/a/andrea/firenze/sins.jpg
ANDREA DA FIRENZE
The Church Militant and Triumphant (detail)
1365-68
Fresco
Cappella Spagnuolo, Santa Maria Novella, Florence

from the larger fresco at:
http://gallery.euroweb.hu/art/a/andrea/firenze/triumph.jpg "

"> And there is that white bodice and green skirt of some others dancing
> in a circle that used to be used for (I think) the SCA Garb *club*
> when yahoo still had clubs and groups. It looks about the same time
> as this.. though I'm now going by the thumbnail for the sca garb
> community at livejournal.

I believe those ladies are in this one... another detail...
http://gallery.euroweb.hu/art/a/andrea/firenze/church.jpg "

There was also mention of skirt panels found, but it's probably a case of a
gown being cut and reused for another purpose.

I would have said, well maybe the green and white is another garment over
the white.. but I don't think so. Not with it sitting on the hips, that's
quite late 20thC or early 21st but 14th?

I know there are German aprons that wrap all the way around and look like
different coloured skirts, but they are at waist level and from the 16thC.

I'll see if I can upload the odd images I have of a green and red garment
that is actually being put on so you can see it's one garment. The lacing is
loose so you can see it go from red to green.

http://glittersweet.com/1411frescojacquerio.jpg
I have no idea what is going on with this image at all. That hat thing looks
like something from the 20thC;)

http://glittersweet.com/1344msgrise.jpg
This is a really short figure on the border of a Manuscript. I just included
it as it could be an explanation of the two toned dress as well as the one
above. Maybe there is a short jacket thing over the dress. But the figure is
too truncated to really say what is going on.

michaela
http://costumes.glittersweet.com



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michaela wrote:
> http://glittersweet.com/1411frescojacquerio.jpg
> I have no idea what is going on with this image at all. That hat thing looks
> like something from the 20thC;)

I would say that's a man in a woman's dress, with a white, striped 
kerchief bundled up somehow.  Except the dress isn't cut for a woman, 
it's very straight.  Man's under-dress?  The button-gauntlet sleeves are 
interesting also.

> http://glittersweet.com/1344msgrise.jpg
> This is a really short figure on the border of a Manuscript. I just included
> it as it could be an explanation of the two toned dress as well as the one
> above. Maybe there is a short jacket thing over the dress. But the figure is
> too truncated to really say what is going on.

I think that's a red dress which has been hitched up for working, and 
the white is the shift/shirt which shows beneath.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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Subject: [h-cost] Isabel de Valois, and her pearls
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Hi all,

Deredere's posts on this sent me back to my books; there is a very
high-res scan of Coello's portrait at page 19 of  the AMNH book
'Pearls: A Natural History' which clearly shows that everything on the
fabric of her skirt and bodice is made up of pearls. Rather a lot of
them...

best wishes
Stevie

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For me:  Walter Fyshe, the head tailor in Queen Elizabeth's wardrobe.

Drea

On Thu, 25 Sep 2003, Lisa Sinervo wrote:

> I admit to pinching this from another list but it was too good to resist doing so.
>
> The question is:  "if you could spend a week (we all know that a day just wouldn't be enough)
> with someone in the past or present to learn about the art of sewing/designing, etc. who would you pick?"
>
> This one is really tough for me.  I know I would have loved to chat with Joseph Campbell or Marshall McCulan but sewing, I'm still thinking.  I'm pretty interested at the moment in knowing how those 16th century laundresses kept their poking sticks clean enough to press those white linen ruffs, but no doubt someone else might come to mind that I'd give preference to.
>
> How about the rest of you?
>
> Lisa Sinervo
> www.thrednedlestrete.com
> _______________________________________________
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>

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I've had some success with these,  the trick I have found is don't think 
ruffle (it implies randomness)  think pleating.
The way I have done it in the past is with a band at the top of the chemise 
to catch the body and draw it into the neckline.  Then adding a pleated 
band of overlapping box pleats,  ironed in at the bottom 1/4"  to allow 
easier pleating,  but not at the top.  This gives the soft double row of 
ruffles.  Sewn on by hand, of course.

Good luck.
Bridgette


>Hello list,
>
>My forte is Italian rennaisance dress.  I love it.  But one thing has
>stumped me beyond belief and I am hoping someone out there can help me.
>
>I was in the process of making a late rennaisance Italian dress like this
>one...
>
>http://www.culture.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=AUTR&VALUE_1=MORONI%20Giambattista&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECKED
>
>I had made the corset and had patterned the bodice already when I
>attempted to re-create the ruffled edge of the chemise that shows at the
>top of the collar.  I just could NOT get it to work!!  It is not a ruff
>(which I *do* know how to make).  It is a ruffled edge of the chemise that
>stands up and out of the collar.
>
>If anyone has tried this and has some pointers, I will gratefully learn
>from your experience because I love the look and would still like to make
>one some day....
>
>TIA,
>
>Diana
>
>
>_______________________________________________
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Subject: Re: [h-cost] Another Italian question
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What style of ruff are you making? Are you doing the figure 8/pleat onto
a band ala Winter and Savoy, or are you doing the gathering thread along
one edge pulled into gathers style that Jean Hunnisett advocated? If you
try the second style you will find that it will work just fine for that
collar/ruff look. 


Karen

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Date: Fri, 26 Sep 2003 09:03:27 -0400
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Fun time machine question
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Make it a month (or more) with all the sensible caveats in place and send 
me back to Florence / with a side trip to Hungary, and another to Ireland...

Just let me learn from the tailors of the day,  and the 
housewives...   That's where my true interest lies,  in the mundane objects 
of the past.

Bridgette

>The question is:  "if you could spend a week (we all know that a day just 
>wouldn't be enough)
>with someone in the past or present to learn about the art of 
>sewing/designing, etc. who would you pick?"
>
>This one is really tough for me.  I know I would have loved to chat with 
>Joseph Campbell or Marshall McCulan but sewing, I'm still thinking.  I'm 
>pretty interested at the moment in knowing how those 16th century 
>laundresses kept their poking sticks clean enough to press those white 
>linen ruffs, but no doubt someone else might come to mind that I'd give 
>preference to.
>
>How about the rest of you?
>
>Lisa Sinervo


Mari Stewart
Cornell University


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Subject: Re: [h-cost] Thanks, and another question
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>
> I'll see if I can upload the odd images I have of a green and red 
> garment
> that is actually being put on so you can see it's one garment. The 
> lacing is
> loose so you can see it go from red to green.
>
> http://glittersweet.com/1411frescojacquerio.jpg
> I have no idea what is going on with this image at all. That hat thing 
> looks
> like something from the 20thC;)
>
>
Do you have more of this work scanned?  I would love to see it in 
context.
Grace/Jessamyn

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From: "Stephen Bergdahl" <madlystitching@earthlink.net>
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Subject: Re: [h-cost] About "Danish Textiles"
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Linda

If you can get two I would be more than happy to take the other one off your
hands, plus shipping, of course.  I've wanted a copy of this book for years.

Stephen Bergdahl  - Lord Vich

One thing you got to say about the Republicans, they don't give up easily.
Impeach Clinton, steal Florida, redistrict Texas, recall Davis.  You know
what , these guys had better watch out or they're going to get slapped with
the reputation of being extremely sore losers.

----- Original Message -----
From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 2:22 PM
Subject: RE: [h-cost] About "Danish Textiles"


> Thank You!!! I'm sure this is better than just writing to the general
address that was on the
> website. I *think* it was to the gift shop, but since I don't speak
Danish, I'm not 100% sure!
> I've wanted this book for years, and now I'm on a mission to get it, if I
can. ;o>
>
> ::Linda::
>
>  -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Drea Leed
> Sent: Thursday, September 25, 2003 2:03 PM
> To: Historical Costume
> Subject: RE: [h-cost] About "Danish Textiles"
>
> Linda,
>
> I got my copy from the Danish museum.  I emailed jonna.horning@natmus.dk
> and asked for an invoice, which she sent, which I filled out and sent back
> with the payment.  When I bought it, it was around $50 (excluding
> shipping.)
>
> Good luck,
>
> Drea
>
>
>
> _______________________________________________
> 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  Fri Sep 26 10:08:36 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <Law10-F43Md4uzHNjdN00001d19@hotmail.com>
Subject: Re: [h-cost] Re:  About "Danish Textiles"
Date: Fri, 26 Sep 2003 16:08:02 +0200
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Hi Jessica.
Laughs here. Thanks a lot.
When it comes to vikings, Denmark has a very rich herritage, you are right.
But when it comes to soulmates, in costume making, we are very few. At least
with my interrest in 18th century fashion.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "jessica stier" <jessicastier@hotmail.com>
To: <h-costume@indra.com>
Sent: Friday, September 26, 2003 1:37 AM
Subject: [h-cost] Re: About "Danish Textiles"


> One of the wonderful things about Denmark, is that 99% of the population
> speaks English.  It's taught in the schools and is everywhere in the
media.
> You can be fairly certain that the receiver of your email will be able to
> understand and respond in English.  And if they can't, then the person who
> sits in the office next door will most likely be able to.
>
> Denmark is such a fabulous country!  I love the people, the food, the
> scenery, the culture, the heritage and of course the fantastic embroidery
> that comes from our friend Bjarne!!!  I'm a walking travel brochure...
>
> Good luck with getting the book!
>
> :)  jessica
>
>
> >
> >Thank You!!! I'm sure this is better than just writing to the general
> >address that was on the
> >website. I *think* it was to the gift shop, but since I don't speak
Danish,
> >I'm not 100% sure!
> >I've wanted this book for years, and now I'm on a mission to get it, if I
> >can. ;o>
> >
> >::Linda::
>
> _________________________________________________________________
> Share your photos without swamping your Inbox.  Get Hotmail Extra Storage
> today! http://join.msn.com/?PAGE=features/es
>
> _______________________________________________
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>


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <001301c383e1$78d1c700$b334a5d1@pavilion>
Subject: Re: [h-cost] Fun time machine question
Date: Fri, 26 Sep 2003 16:13:23 +0200
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Are you serious?
My god,  i would travel to Paris and work a week with Marie Antoinettes
dressmaker Rose Bertin.
I dont think i would work with her, just suck all out of her that i could!!!


Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 26, 2003 5:51 AM
Subject: [h-cost] Fun time machine question


I admit to pinching this from another list but it was too good to resist
doing so.

The question is:  "if you could spend a week (we all know that a day just
wouldn't be enough)
with someone in the past or present to learn about the art of
sewing/designing, etc. who would you pick?"

This one is really tough for me.  I know I would have loved to chat with
Joseph Campbell or Marshall McCulan but sewing, I'm still thinking.  I'm
pretty interested at the moment in knowing how those 16th century
laundresses kept their poking sticks clean enough to press those white linen
ruffs, but no doubt someone else might come to mind that I'd give preference
to.

How about the rest of you?

Lisa Sinervo
www.thrednedlestrete.com
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Fun time machine question
Date: Fri, 26 Sep 2003 09:17:28 -0500
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Well, one designer won't do.  Worth, of course, and Callot Soeurs at least.
Then a jump back into the time machine for a visit with Anne Boleyn, who
apparently designed some of her clothes, and then a jump forward to at least
pinch a scrap or the pattern for Elizabeth I's ears and eyes fabric and then
a visit to the 1790's to where Heideloff's "Gallery of Fashion" was produced
and published.

Cindy Abel



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Ooooh! What she said!
Well, with additional time for Her Majesty's silkwoman.
And a side-trips to study Opus Anglicanum at its best, and to hang out
with the artisans who created the Bayeaux Tapestry. And time in Ireland
(Dublin)to study what women wore there during the years the Norse were
living there (I'd love to know what happened when native styles,
whatever they were, met Scandinavian influences.)
I'm afraid I could no more choose one than I can eat just one potato
chip.
--sue

Drea Leed wrote:
> 
> For me:  Walter Fyshe, the head tailor in Queen Elizabeth's wardrobe.
> 
> Drea
> 
> On Thu, 25 Sep 2003, Lisa Sinervo wrote:
> 
> > I admit to pinching this from another list but it was too good to resist doing so.
> >
> > The question is:  "if you could spend a week (we all know that a day just wouldn't be enough)
> > with someone in the past or present to learn about the art of sewing/designing, etc. who would you pick?"
> >
> > This one is really tough for me.  I know I would have loved to chat with Joseph Campbell or Marshall McCulan but sewing, I'm still thinking.  I'm pretty interested at the moment in knowing how those 16th century laundresses kept their poking sticks clean enough to press those white linen ruffs, but no doubt someone else might come to mind that I'd give preference to.
> >
> > How about the rest of you?
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Date: Fri, 26 Sep 2003 07:23:58 -0700
Subject: Re: [h-cost] Another Italian question
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It looks almost cartridge pleated to me. That alone would stiffen it
somewhat.

Arlys

On Thu, 25 Sep 2003 22:13:56 -0700 (PDT) <dch@inreach.com> writes:
> Hello list,
> 
> My forte is Italian rennaisance dress.  I love it.  But one thing has
> stumped me beyond belief and I am hoping someone out there can help 
> me.
> 
> I was in the process of making a late rennaisance Italian dress like 
> this
> one...
> 
>
http://www.culture.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=A
UTR&VALUE_1=MORONI%20Giambattista&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECK
ED
> 
> I had made the corset and had patterned the bodice already when I
> attempted to re-create the ruffled edge of the chemise that shows at 
> the
> top of the collar.  I just could NOT get it to work!!  It is not a 
> ruff
> (which I *do* know how to make).  It is a ruffled edge of the 
> chemise that
> stands up and out of the collar.
> 
> If anyone has tried this and has some pointers, I will gratefully 
> learn
> from your experience because I love the look and would still like to 
> make
> one some day....
> 
> TIA,
> 
> Diana
> 
> 


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Oooh, cool!
I want to be able to do something similar someday, although I'm in the
early stages yet--just learning the spinning end of it.
Tell us more--what kind of threads are you using? What colors? What
weaving pattern? All that cool stuff ;o)
--sue, textile junkie 

Elizabeth Young wrote:
> 
>
> I am working on weaving a length of woolen fabric based on the info from
> the Textiles book. I am using 3 colors of wool, and it is amazing how
> subtle the patterening is.
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Date: Fri, 26 Sep 2003 07:20:46 -0700 (PDT)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] About "Danish Textiles"
To: Historical Costume <h-costume@indra.com>
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I wrote yesterday to the Danish museum--and this morning got a reply back --expressing regrets that the book was no longer in print:( At least they were very prompt!
But I am very disappointed.
Albra

Stephen Bergdahl <madlystitching@earthlink.net> wrote:
Linda

If you can get two I would be more than happy to take the other one off your
hands, plus shipping, of course. I've wanted a copy of this book for years.

Stephen Bergdahl - Lord Vich

One thing you got to say about the Republicans, they don't give up easily.
Impeach Clinton, steal Florida, redistrict Texas, recall Davis. You know
what , these guys had better watch out or they're going to get slapped with
the reputation of being extremely sore losers.

----- Original Message -----
From: "Linda Rice" 
To: "'Historical Costume'" 
Sent: Thursday, September 25, 2003 2:22 PM
Subject: RE: [h-cost] About "Danish Textiles"


> Thank You!!! I'm sure this is better than just writing to the general
address that was on the
> website. I *think* it was to the gift shop, but since I don't speak
Danish, I'm not 100% sure!
> I've wanted this book for years, and now I'm on a mission to get it, if I
can. ;o>
>
> ::Linda::
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Drea Leed
> Sent: Thursday, September 25, 2003 2:03 PM
> To: Historical Costume
> Subject: RE: [h-cost] About "Danish Textiles"
>
> Linda,
>
> I got my copy from the Danish museum. I emailed jonna.horning@natmus.dk
> and asked for an invoice, which she sent, which I filled out and sent back
> with the payment. When I bought it, it was around $50 (excluding
> shipping.)
>
> Good luck,
>
> Drea
>
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Actually, have you considered the idea of smocking?  I took a class at 
Pennsic on this, and one of the applications for smocking was for a 
stand up collar.  That would give you both the stand up collar, with the 
ruffling, and is demonstrable in Italian garb, as artwork from Italy was 
the source of most of the teacher's demonstrations.  The actual smocking 
stitches would be done on the inside of the garment, leaving only the 
pleats that you can find in documented various portraits on the outside. 
 And done in a certain manner, the collar would be quite stiff and non 
flexible, leaving it well capable of standing upright on its own.  
 Unfortunately, this is not my period, so I do not have pics available, 
but you ought to be able to find some examples to look at.

Jenne

Cynthia J Ley wrote:

>It looks almost cartridge pleated to me. That alone would stiffen it
>somewhat.
>
>Arlys
>  
>



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Date: Fri, 26 Sep 2003 08:23:55 -0700 (PDT)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Another Italian question
To: Historical Costume <h-costume@indra.com>
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I had great luck with running the fabric thru one of those pleaters before I stitched it down to the band. With a stiffened cord already pre-stitched to the edge --it looked great!
Albra

Cynthia J Ley <cley@juno.com> wrote:
It looks almost cartridge pleated to me. That alone would stiffen it
somewhat.

Arlys

On Thu, 25 Sep 2003 22:13:56 -0700 (PDT) writes:
> Hello list,
> 
> My forte is Italian rennaisance dress. I love it. But one thing has
> stumped me beyond belief and I am hoping someone out there can help 
> me.
> 
> I was in the process of making a late rennaisance Italian dress like 
> this
> one...
> 
>
http://www.culture.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=A
UTR&VALUE_1=MORONI%20Giambattista&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECK
ED
> 
> I had made the corset and had patterned the bodice already when I
> attempted to re-create the ruffled edge of the chemise that shows at 
> the
> top of the collar. I just could NOT get it to work!! It is not a 
> ruff
> (which I *do* know how to make). It is a ruffled edge of the 
> chemise that
> stands up and out of the collar.
> 
> If anyone has tried this and has some pointers, I will gratefully 
> learn
> from your experience because I love the look and would still like to 
> make
> one some day....
> 
> TIA,
> 
> Diana
> 
> 


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Date: Fri, 26 Sep 2003 08:36:34 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] About "Danish Textiles"
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Stephen,
At least you know you can borrow my copy on occasion, until you get your 
own, of course <g>.
Joan Jurancich

At 10:37 PM 9/25/2003 -0700, you wrote:
>Linda
>
>If you can get two I would be more than happy to take the other one off your
>hands, plus shipping, of course.  I've wanted a copy of this book for years.
>
>Stephen Bergdahl  - Lord Vich
>
>One thing you got to say about the Republicans, they don't give up easily.
>Impeach Clinton, steal Florida, redistrict Texas, recall Davis.  You know
>what , these guys had better watch out or they're going to get slapped with
>the reputation of being extremely sore losers.
>
>----- Original Message -----
>From: "Linda Rice"
>Sent: Thursday, September 25, 2003 2:22 PM
>Subject: RE: [h-cost] About "Danish Textiles"
>
> > Thank You!!! I'm sure this is better than just writing to the general
>address that was on the
> > website. I *think* it was to the gift shop, but since I don't speak
>Danish, I'm not 100% sure!
> > I've wanted this book for years, and now I'm on a mission to get it, if I
>can. ;o>
> >
> > ::Linda::

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Unless you're dealing with knitted stuff.  Or really unusual treatments
near the ankle or wrist.  A lot of times, it's actually a pretty big
pain in the behind to have to fix. I'm of average height (5'5"), but
with very short arms and legs, so I'm proportioned all wonky.  I've
always had problems with hems and sleeves and such, but it's much worse
now that I'm really, uhm, a woman of some physical stature, shall we
say.  Plus-sized manufacturers seem to assume we're all the height of
your average NBA player.  I put on a hooded sweatshirt (zip-front) to go
to work the other day, and the sleeves extended several inches *past*
the ends of my fingertips.
--sue

Audrey Bergeron-Morin wrote:
> 
> <snip>
> > same from Misses to Petite. The sleeve lengths of jackets are similarly no
> > longer adjusted for the change in height. *sigh* When will they learn that
> > not all of us have legs and arms that go on "forever"...
> 
> Well... sleeves tend to be on the short side on me. But if you're aware of
> the problem, sleeve length is one of the things that can be adjusted fairly
> easily, as long as the shoulders fit right. Length of rise is also harder to
> adjust than, say, inseam length on a pair of pants. I always have to modify
> a pattern anyway before I go at it: that's what you get for being
> short-waisted :-)
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From: kat@grendal.rain.com
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> I had made the corset and had patterned the bodice already when I
> attempted to re-create the ruffled edge of the chemise that shows at
> the top of the collar.  I just could NOT get it to work!!  It is not a
> ruff (which I *do* know how to make).  It is a ruffled edge of the
> chemise that stands up and out of the collar.

It's probably made similar to the ruffs which within 20 years were 
often made as separate accessories but seem to be part of the 
shirt/chemise/half-shirt at this point.

http://www.vertetsable.com/demos_ruffs.htm

I've found that Laurellen's stacked pleat method usually turns out 
the way that your picture shows. It doesn't look like that if you 
cartridge pleat it as the pleats stand out differently so that you 
get more of the Dutch ruff look than the Italian look you want.

You'll want to make it smaller than what you would for the ruff she 
shows, but it seems to work fairly well as long as you don't use a 
fabric which is too thick. It needs to be slightly stiff but finely 
woven in something lightweight. Handkerchief linen would work, but it 
is about the outside limit of heaviness. A battiste might work if 
your edge treatment gives it a little more stiffness (such as a metal 
thread embroidery edge or a tightly rolled edge.)

Kat
<kat@redtrollforge.com>


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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: [h-cost] The Doll Book
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For those looking for a book to make historic cloth dolls and costumes(not
100% accurate in cut, but better than most of the stuff out there), try
getting Estelle Ansley Worrell  "The Doll Book" Princeton, NJ : D Van
Nostrand Co, c1966 via interlibrary loan. This is great, especially for a
child and includes directions for sizing up the patterns for male and female
adult and child dolls and making wigs. The patterns cover the 1660's through
the end of the 1800's. I'm going to use this to dress some young girl
odd-sized Salvation Army dolls where no commercial patterns really fit.

Cindy Abel



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> The question is:  "if you could spend a week (we all know that a day
> just wouldn't be enough) with someone in the past or present to learn
> about the art of sewing/designing, etc. who would you pick?"

I thought about this one for years and I always come up with the same 
thing: I want to be able to watch a real 16thC English 
tailor/dressmaker (c1525-40). Not someone who just does them for the 
Crown but someone who does them for several of the ladies in waiting 
and gentlemen at court.

But, from what I learned when I spent a month in London studying, I 
don't just want a week. I want at least a couple of months! And, 
being greedy in terms of costuming, I want to go visit some of the 
other costume article artisans of the time too (the lacemakers, the 
chemise makers, the embroiderers, etc....)

And on another "trip" I'd like to do the same in France for about 
1150.

Kat
<kat@redtrollforge.com>


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> Another out-loud thought: so many people have to alter their patterns
> drastically. The pattern companies don't know this; they've never
> asked me how much I have to alter my patterns to get them to fit. 
> Patternmakers know that some of these alterations are happening
> because they made such a big deal, especially when they first came
> out, about multiple sizes on one pattern. They told us how easy it was
> to alter from one size to the next. Most patterns are produced this
> way, and not just because it's cheaper for them. 

Except that in the past (which thankfully *is* in the past), they 
only had one size per envelope. And they were still just as "in the 
dark" in terms of what real people wore.

But then, in the past sewing was a required course of study in most 
high school and junior highs. Altering a pattern was taught so people 
still wouldn't have been caught out without being able to use a 
pattern which didn't fit like a modle.

>  Certainly, but if they don't realize how much some people
> have to change their patterns, they'll never change their sizing.

Not necessarily. They might know that the patterns have to be changed 
but figure that as long as people can change their own, why should 
they change.

What I'd like to see is patterns for very large men and women. *Nice* 
patterns for very large people. They have so much trouble finding 
inexpensive clothes they can wear (which don't make them look like 
they are wearing a sack) and yet they don't have patterns that fit 
either. And because of their size, they can't be changed easily from 
even the biggest of the commercial sizes. It's much easier to cut 
down something for a small person than it is to make it larger. 
(That's why they have whole books devoted to pattern making for large 
people. However, it takes someone like me who can make a pattern from 
scratch to really be able to do this. Not something which would work 
for the average home sewer.)

Kat
<kat@redtrollforge.com>


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Date: Fri, 26 Sep 2003 09:39:36 -0700
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Subject: Re: [h-cost] Thanks, and another question
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> In a couple of Crivelli's other saint pictures -- I think one of the
> Virgin and one of St. Catherine, but I'd have to look -- these more
> "proper" women are wearing the same style of front closure, but done
> up all the way, in a straight line.

You can get an idea of what it looks like laced up from the paintings 
called "Triumph of Minerva" and "Triumph of Venus". They were done in 
the same time period in the same area as the Crivellis. You can also 
see what the dresses look like without all the heavy gold work on the 
bodice.
> 

> For the "clasps," I found jewelry findings at a craft store of the
> right shape that had three holes on one side and one hole on the
> other. I turned them sideways and sewed the three holes to the fabric,
> and pointed the single hole to the center. I then laced up the dress
> through the holes. In other words, we used them as lacing mounts, not
> clasps per se. I think a good close-up on at least some of the
> Crivellis show that these are laced, not individually fastened the
> way, say, cloak clasps might be. But I'd have to look at the sources
> again, and I don't have the Crivelli book.

I've done a couple of these (laced, although I get the look by just 
partial lacing) and what I've used (before I had some custom cast 
ones) was the lacing side only of Scandinavian sweater hooks. I was 
living in Seattle at the time and they have quite a large 
Scandinavian area (called Ballard) which had a very handy shop with 
all sorts of things of this sort. (They had *many* types. I think 
there were about 20 to choose from. But they didn't really like it 
when I only wanted the lace side without the hook side.)

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Re: Re: Average human size?
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Part of the problem with sleeve lengths, etc on plus-size clothing is the
grading- the good clothes do a real fit for an 18 or 20 and grade up or down
from there.  The ones that take the easy way out are grading up from an 8,
in every direction.  This explains the sleeves to the knees, the armholes
down to the waist, and the shoulder seams at the elbows.  But for some
reason, on the same garment, they still manage to short the over all length.
Go figure.
                  -Aidan


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Thanks to everyone for their responses!

To Karen (seamstrix) I am trying for a ruffled edge that is sewn to the
collar, not a separate ruff like Winter & Savoy.

> I've had some success with these,  the trick I have found is don't think
>  ruffle (it implies randomness)  think pleating.
> The way I have done it in the past is with a band at the top of the
> chemise  to catch the body and draw it into the neckline.  Then adding a
> pleated  band of overlapping box pleats,  ironed in at the bottom 1/4"
> to allow  easier pleating,  but not at the top.  This gives the soft
> double row of  ruffles.  Sewn on by hand, of course.

I think that the stacked box pleats is the best method for me.  I suspect
it also depends on the fabric for the chemise.  Thanks for the idea and
also to the lady who pointed me to Laurellen's website.  She is a fabulous
costumer who I respect immensely and the pictures really help.

Diana


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----- Original Message ----- 
From: <dch@inreach.com>>
> I was in the process of making a late rennaisance Italian dress like this
> one...
>
http://www.culture.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=AUTR&VALUE_1=MORONI%20Giambattista&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECKED
> I had made the corset and had patterned the bodice already when I
> attempted to re-create the ruffled edge of the chemise that shows at the
> top of the collar.  I just could NOT get it to work!!  It is not a ruff
> (which I *do* know how to make).  It is a ruffled edge of the chemise that
> stands up and out of the collar.

Hmm, I don't have pointers, but it is probably a high necked smock. Or it
might be a partlet. You can see a similar dress worn open here
http://homepage.mac.com/festive_attyre/research/diary2002/images/pace.jpg
And another one here, but I believe a slightly earlier style
http://www.marquise.de/en/1500/pics/158x_1.shtml

I like that style too. One day I'll tackle it, but I have other things to do
before that :-)

Good luck!
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Subject: [h-cost] Holbein
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http://www.ibiblio.org/wm/paint/auth/holbein/gisze.jpg


This is the first time I've run across this particular
Holbein. The garment seems very simple although of
rich materials.

=====
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From: Kimiko Small <kimiko@kimiko1.com>
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At 11:40 AM 9/26/2003 +0100, you wrote:
>Hi all,
>
>Deredere's posts on this sent me back to my books; there is a very
>high-res scan of Coello's portrait at page 19 of  the AMNH book
>'Pearls: A Natural History' which clearly shows that everything on the
>fabric of her skirt and bodice is made up of pearls. Rather a lot of
>them...
>
>best wishes
>Stevie


Thanks for the heads up on that. I think I shall see if I can find this book.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: ladysarafina@att.net
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Subject: Re: [h-cost] Another Italian question
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Diana,

Any sort of pleating or gathering at the neckline should give you the desired 
effect. My recommendations would be cartridge pleating, box pleating, or 
knife pleating. Adding a little starch to the ruffle would help also.

Harlie Des Roches

--
Lady Sarafina Sinclair, CW, APF
http://ladysarafina.home.att.net
> Hello list,
> 
> My forte is Italian rennaisance dress.  I love it.  But one thing has
> stumped me beyond belief and I am hoping someone out there can help me.
> 
> I was in the process of making a late rennaisance Italian dress like this
> one...
> 
> http://www.culture.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=AUTR&VAL
> UE_1=MORONI%20Giambattista&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECKED
> 
> I had made the corset and had patterned the bodice already when I
> attempted to re-create the ruffled edge of the chemise that shows at the
> top of the collar.  I just could NOT get it to work!!  It is not a ruff
> (which I *do* know how to make).  It is a ruffled edge of the chemise that
> stands up and out of the collar.
> 
> If anyone has tried this and has some pointers, I will gratefully learn
> from your experience because I love the look and would still like to make
> one some day....
> 
> TIA,
> 
> Diana
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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Sorry Stephen, we are both out of luck.  I got a reply back from the museum this morning simply
saying that the book is no longer in print. I'm guessing that they have sold out their remaining
stock as well. 

I have a funny feeling that this book is going to turn into another "From Viking to Crusader",
which is darned near impossible to find and bloody expensive when you do. Arrgh!

Robin, can you pull some strings with your buddies at Boydell and see if they would want to
republish this excellent textile book? <grin>

::Linda:: 

-----Original Message-----
 On Behalf Of Stephen Bergdahl
Sent: Friday, September 26, 2003 1:38 AM

Linda-
If you can get two I would be more than happy to take the other one off your
hands, plus shipping, of course.  I've wanted a copy of this book for years.
-Stephen Bergdahl  



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http://www.bowesmuseum.org.uk/collections/image.php3?Name=Portrait+of+Catherine+of+Austria&image=founders-b-m-5.jpg

Is this design woven into the fabric, embroidered or a
woven trim applied afterwards?

=====
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Am I the only one who read this subject line and thought "Funtime Machine question? What's that?"
;o>  

Like everyone else, I find it impossible to choose only one, but I'd be just as interested to know
how they wove such wonderful textiles, as well as how they constructed the clothes. My main
interests are Viking through to HYW, so anything going on then is good with me. 

And, if you wanted to keep your poking stick clean, couldn't you use a pot of boiling water to heat
the tool in? Flick off the excess water and use the rod for forming the ruff. I have no idea if
this is what they did, but if I had to try to do it today with only period methods, I'd at least
give this a shot! 

::Linda::


 
> On Thu, 25 Sep 2003, Lisa Sinervo wrote:
> 
> > I admit to pinching this from another list but it was too good to resist doing so.
> >
> > The question is:  "if you could spend a week (we all know that a day just wouldn't be enough)
> > with someone in the past or present to learn about the art of sewing/designing, etc. who would
you pick?"
> >
> > This one is really tough for me.  I know I would have loved to chat with Joseph Campbell or
Marshall McCulan but sewing, I'm still thinking.  I'm pretty interested at the moment in knowing
how those 16th century laundresses kept their poking sticks clean enough to press those white linen
ruffs, but no doubt someone else might come to mind that I'd give preference to.
> >
> > How about the rest of you?




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> http://www.ibiblio.org/wm/paint/auth/holbein/gisze.jpg
> 
> 
> This is the first time I've run across this particular
> Holbein. The garment seems very simple although of
> rich materials.

I love this painting. It's really fun to get close looks at all the 
stuff in the background.

I like the sleeves too. They are very similar to the pattern from the 
Milanese Tailor's album. 

Kat
<kat@redtrollforge.com>


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> http://www.bowesmuseum.org.uk/collections/image.php3?Name=Portrait+of+
> Catherine+of+Austria&image=founders-b-m-5.jpg
> 
> Is this design woven into the fabric, embroidered or a
> woven trim applied afterwards?

It looks like a surface treatment to me. It is not woven that way. It 
looks more like an embroidered or woven trim.

I want her carcanet!

Kat
<kat@redtrollforge.com>


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http://www.nga.gov/cgi-bin/pimage?500+0+0
This is an interesting portrait by Girolamo di
Benvenuto. I wish I could get a better look at the
pattern of the sleeve fabric.

=====
Aurum peccamenes multifariam texit

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Subject: Re: [h-cost] Holbein
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Then I wonder if this was a typical garment for a
German merchant? 


--- kat@grendal.rain.com wrote: > 
> >
>
http://www.ibiblio.org/wm/paint/auth/holbein/gisze.jpg
> 
> I love this painting. It's really fun to get close
> looks at all the 
> stuff in the background.
> 
> I like the sleeves too. They are very similar to the
> pattern from the 
> Milanese Tailor's album. 
> 
> Kat
> <kat@redtrollforge.com>
> 


=====
Aurum peccamenes multifariam texit

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On Fri, 26 Sep 2003, Linda Rice wrote:

> Robin, can you pull some strings with your buddies at Boydell and see
> if they would want to republish this excellent textile book? <grin>

Write them and ask them -- Boydell has a website, and I bet there's a
contact person listed. They're very much interested in reprinting
important costume/textile books.

--Robin

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On 9/26/03 12:52 PM, "kat@grendal.rain.com" <kat@grendal.rain.com> wrote:

> 
>> http://www.bowesmuseum.org.uk/collections/image.php3?Name=Portrait+of+
>> Catherine+of+Austria&image=founders-b-m-5.jpg
>> 
>> Is this design woven into the fabric, embroidered or a
>> woven trim applied afterwards?
> 
> It looks like a surface treatment to me. It is not woven that way. It
> looks more like an embroidered or woven trim.
> 
It looks like trim added to either side of slashes on a surcoat with the
slashed closed by the intricate metallic frogs and pumpkin-shaped buttons.

> I want her carcanet!
> 
I'd love it too. It's really lovely.
> Kat
> <kat@redtrollforge.com>
> 
LynnD

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Subject: [h-cost] Another nice dress
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http://www.comune.roma.it/museicapitolini/pinacoteca/visita/sala3_savoldo.htm

This dress also appears green on the outer dress. Does
anyone know if it really is?

=====
Aurum peccamenes multifariam texit

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Subject: [h-cost] same model and dress?
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http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/largeImage?workNumber=NG2493&collectionSection=work

then look at 


http://www.nga.gov/cgi-bin/pinfo?Object=41318+0+none

is this the same dress and same model? This apparently
are allegorical works.

=====
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 From what I can see,  and the little that I know of the time...  I would 
say applied strapwork,  or passamenterie (sp?)
Bridgette

>http://www.bowesmuseum.org.uk/collections/image.php3?Name=Portrait+of+Catherine+of+Austria&image=founders-b-m-5.jpg
>
>Is this design woven into the fabric, embroidered or a
>woven trim applied afterwards?

Mari Stewart,  Cornell University, Ithaca, NY 

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: [h-cost] Philadelphia Museum of Art-Schiaparelli Exhibit
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Here's a designer I would have enjoyed meeting and a new exhibit on her work, but still not my top pick. I'm still thinking!


http://www.cnn.com/2003/TRAVEL/DESTINATIONS/09/26/shocking.schiaparelli.ap/index.html

Lisa
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I love this book! I first got it from the library in 1969. A few years
ago I did find a copy to buy--can't remember if it's back in print, or
if I found a used one.

It really started me on the road to historic costuming.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Cindy Abel
Sent: Friday, September 26, 2003 11:21 AM
To: Historical Costume
Subject: [h-cost] The Doll Book

For those looking for a book to make historic cloth dolls and
costumes(not
100% accurate in cut, but better than most of the stuff out there), try
getting Estelle Ansley Worrell  "The Doll Book" Princeton, NJ : D Van
Nostrand Co, c1966 via interlibrary loan. This is great, especially for
a
child and includes directions for sizing up the patterns for male and
female
adult and child dolls and making wigs. The patterns cover the 1660's
through
the end of the 1800's. I'm going to use this to dress some young girl
odd-sized Salvation Army dolls where no commercial patterns really fit.

Cindy Abel



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On 19:26 26/09/2003 Catalina Sanabria Rosado said

>http://www.ibiblio.org/wm/paint/auth/holbein/gisze.jpg
>
>
>This is the first time I've run across this particular
>Holbein. The garment seems very simple although of
>rich materials.

This is one of Holbein's portraits of the merchants of the Hanseatic 
League, wealthy merchants living in London. They turned to Holbein as a 
fellow German and a Protestant. Everything in the painting means something, 
mostly connected with the trade of the sitter, but look for a memento mori. 
He usually dropped one in (most notably in "The Ambassadors")


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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Weeelllll, I am using jager-spun mainline 2/20 from halycon yarn. 24 
ends per inch and I am getting an average of 28 picks per inch. The warp 
is alternating white and medium warm brown and the weft is a darker 
brown. It makes this interesting mottled effect. I am using a tabby 
weave. So - let's see if I can remember exactly what I'm doing....
Uh. 3 picks of regular old tabby and then 2 picks of tabby where the 
weft goes over two and under two.
So the mottled effect is broken up by textured stripes.
I had intended to do a twill, but the idea of having even more warp 
threads to deal with was just too much. So I changed my mind to tabby. I 
had also intended to use the same brown from the warp for the weft, but 
wound a quill of the wrong kind. So - this is now 'based loosely' on 
some random stuff in the MOL book.
All this is on my modern 4 shaft jack loom, with 2 threads through every 
dent of my 12 dent reed.
Assuming that I actually finish the 6 yard warp, I expect to make a hood 
out of this.

liz young

Sue Clemenger wrote:

>Oooh, cool!
>I want to be able to do something similar someday, although I'm in the
>early stages yet--just learning the spinning end of it.
>Tell us more--what kind of threads are you using? What colors? What
>weaving pattern? All that cool stuff ;o)
>--sue, textile junkie 
>
>Elizabeth Young wrote:
>  
>
>>I am working on weaving a length of woolen fabric based on the info from
>>the Textiles book. I am using 3 colors of wool, and it is amazing how
>>subtle the patterening is.
>>    
>>



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Well, this one brought me out of hiding!  If I must choose only one, then it
would be a trip to Italy and the home of Mariano Fortuny. 

He grew up surrounded by the Rennaisance clothing and textiles his mother and
father collected. He created furnitute, wall hangings, curtains, rugs,
clothing for the theatre and film industry and then rediscovered how to create
the beautiful velvets and brocades of the Rennaisance, not to mention the
pleated gowns with glass beads that were so popular with Isadora Duncan and
Elenora Duse. 

If I could just get into his head for a short time and capture his curiousity
and ability to create beautiful things I would die a very happy woman!   Check
out http://www.fortuny.com/index1.html 

Thanks for the great question Lisa!

Back to Lurkdom, Shea


"Lisa Sinervo" <Lisa-list@threadneedlest.com> wrote:

> I admit to pinching this from another list but it was too good to resist
doing so.
> 
> The question is:  "if you could spend a week (we all know that a day just
wouldn't be enough)
> with someone in the past or present to learn about the art of
sewing/designing, etc. who would you pick?"
> 
> This one is really tough for me.  I know I would have loved to chat with
Joseph Campbell or Marshall McCulan but sewing, I'm still thinking.  I'm
pretty interested at the moment in knowing how those 16th century laundresses
kept their poking sticks clean enough to press those white linen ruffs, but no
doubt someone else might come to mind that I'd give preference to.
> 
> How about the rest of you?
> 
> Lisa Sinervo
> www.thrednedlestrete.com
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume
> 



Shea Young ~ ~ ~ ~

"As you go the way of life, you will see a great chasm. JUMP! It is not as
wide as you think."  ~  Joesph Campbell



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To: "Historical Costume" <h-costume@indra.com>
References: 
	<3F70D84B.8020101@reddawn.net><4.3.1.2.20030923190840.0519c9d0@mail.frys.com><200309242120.45611.cathy@thyrsus.com>
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Subject: Re: worst book (was [h-cost] Books
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I gather that there are a lot of you out there that came to HCostume after
the mid 1960s. You cannot imagine what was commonly available at that time
re research or how-to for costuming that was in any way connected with
History. I was thrust into a theater venue that sent me to the Art History
Dept for real pictures of designs from the past and the likes of Wilcox,
Barton, Davenport,Kohler, Cassin and etc, were Lights! Peacock, who gained a
space on my shelf rather late, presented an incorporation of ideas and
designs that could communicate with my customers if only for the line change
in fashion development. I don't draw awfully well myself, but the primitive
work done by these people from the past at least kept the idea of HCostume
alive until the learned efforts by Arnold, Hunniset, and all the other
costume history people of lesser renown were able to do and present their
studies for the edification of us all.  Would that each of us could add even
one 'Inch" to the vast area of our World.

Kathleen
---- Original Message ----- 
From: "Dawn Wood" <dawn@agesofelegance.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 25, 2003 5:17 AM
Subject: Re: worst book (was [h-cost] Books


> do bear in mind when complaining about the Peacock book that it was
written
> in the seventies which accounts for the fashion drawing style by a costume
> designer not a historian for the same market and there wasn't much around
> then reference wise for grown ups.
> I worked with John on several accessions and he was the first to admit it
> wasn't the best book but what was wanted at the time. I don't own it btw
for
> just those reasons
>
> I think we can say the same about many of the other 'bad ones around
today.
> The kohler book for instance is useful because many garments in there
don't
> survive any more. Cassin's osprey nelsons navy book is also rather useful
> using it atm
>
> My first book which got me hooked when I was 7 from the local library was
a
> costume timeline book which I still adore. if only for nostalgia reasons
>
> My last a 1911 tailoring magazine for the chauffeurs uniform pattern draft
> as I kept getting enquiries for one. There have been rather a lot in
between
> and still not enough but thankfully they are tax deductible
>
> Dawn
>
>
>
> Ages Of Elegance makers of historical clothing, uniforms and bridalwear
> http://www.agesofelegance.co.uk 0113 277 6717
> > > >I dimly recall hearing "Cassin is awful," but I've never seen it in
> > > >person.
> > > Pocock's book with all the badly proportioned re-drawings.  Any other
> > > votes?
>
>
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Subject: Re: [h-cost] The Doll Book
Date: Fri, 26 Sep 2003 22:43:26 -0400
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This was also an early costume book for me.  At least she had the general
line and pattern right on how to get the right look. I have also found the
"Amanda" series (Texas-Tec Press) to be a genuine help for 19th C
challenges.
Kathleen
----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 26, 2003 12:21 PM
Subject: [h-cost] The Doll Book


> For those looking for a book to make historic cloth dolls and costumes(not
> 100% accurate in cut, but better than most of the stuff out there), try
> getting Estelle Ansley Worrell  "The Doll Book" Princeton, NJ : D Van
> Nostrand Co, c1966 via interlibrary loan. This is great, especially for a
> child and includes directions for sizing up the patterns for male and
female
> adult and child dolls and making wigs. The patterns cover the 1660's
through
> the end of the 1800's. I'm going to use this to dress some young girl
> odd-sized Salvation Army dolls where no commercial patterns really fit.
>
> Cindy Abel
>
>
>
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>
>It looks almost cartridge pleated to me. That alone would stiffen it
>somewhat.
>
>Arlys
>
>
How about smocked?  they're earlier ones with that edge that may have been 
smocked.
Maddalena

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At 10:06 AM -0700 9/26/03, Grace Morris wrote:
>>I'll see if I can upload the odd images I have of a green and red garment
>>that is actually being put on so you can see it's one garment. The lacing is
>>loose so you can see it go from red to green.
>>
>>http://glittersweet.com/1411frescojacquerio.jpg
>>I have no idea what is going on with this image at all. That hat thing looks
>>like something from the 20thC;)
>>
>Do you have more of this work scanned?  I would love to see it in context.

What's more, knowing what genre the work is depicting might help in 
figuring out what's going on with the clothing.

Heather
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Subject: [h-cost] tv ad eye-candy
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Has anyone else (I guess this would be USA only) been admiring the HP 
image-enhancement-services ads sporting what I take to be an early 
17th c. Dutch painting come to life?  (I'm embarrassed to confess 
that I don't recognize the painting/painter, but I'm reasonably 
confident about the time/place.)  It's the one with the young boy 
running through the streets, if that twigs anyone's memory.

It's not my era to be good on specifics, but as a costume generalist, 
I was quite impressed with the clothing ... and there was a good deal 
of it.

Heather
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: worst book (was [h-cost] Books
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On Friday 26 September 2003 10:24 pm, Lloyd Mitchell wrote:
> I gather that there are a lot of you out there that came to HCostume after
> the mid 1960s.

Why, yes.  I can't speak for others, but I myself was 10 in 1969; my first 
forays into the history of costume began in the mid 1970s.


> You cannot imagine what was commonly available at that time
> re research or how-to for costuming that was in any way connected with
> History. I was thrust into a theater venue that sent me to the Art History
> Dept for real pictures of designs from the past and the likes of Wilcox,
> Barton, Davenport,Kohler, Cassin and etc, were Lights!

<wince> You have my sympathy, at least.  (Though I personally think there is 
good to be found in Barton, Kohler, and Davenport, and happen to have copies 
of Barton and Kohler in my library).


> Peacock, who gained
> a space on my shelf rather late, presented an incorporation of ideas and
> designs that could communicate with my customers if only for the line
> change in fashion development. I don't draw awfully well myself, but the
> primitive work done by these people from the past at least kept the idea of
> HCostume alive until the learned efforts by Arnold, Hunniset, and all the
> other costume history people of lesser renown were able to do and present
> their studies for the edification of us all.  Would that each of us could
> add even one 'Inch" to the vast area of our World.

You make a good point. Thanks for the perspective.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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> The question is:  "if you could spend a week (we all know that a day
> just wouldn't be enough) with someone in the past or present to learn
> about the art of sewing/designing, etc. who would you pick?"

One week in Venice in the 1920s, learning and memorizing all of Mariano Fortuny's pleating/dyeing/fabric manipulation techniques :)

Allison T.

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 1st and last books
Date: Fri, 26 Sep 2003 22:09:45 -0700
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My first costume book was Kohler because it was available from Dover along
with the Vecillo (?).  My latest book is _Clothing Renaissance Florence_ by
Carole Collier Frick, a fantastic book for someone who is interested in the
fabric and fashioning details of costuming.  There isn't much to interest
the person who wants  pictures (these are black and white) to re-create.  If
you liked Stella Marie Newton, Dress in Italian Painting, or Costume in the
Age of the Black Prince you will love this.  For those with a less scholarly
interest (Not a put-down) beg your library to order this!

Regina
P.S.  Did you know that a town in France, Perpignan where they wove stretchy
fabric in the 14th Century for making hose?  Got to write her and ask
questions!)


> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of AnnBWass@aol.com
> Sent: Tuesday, September 23, 2003 1:23 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] 1st and last books
>
>
> The one book to have if you are doing early 19th century--"Revolution in
> Fashion."
>
> My first costume book?  Not the fvery irst one I owned, but it
> was in my high
> school and public library--"The Mode in Costume."  Okay, I know it has a
> really poor reputation today, and I understand why, but it got me
> hooked on
> historic costume.  I made paper dolls with costumes from it.
> When I found the book
> at a used book sale in about 1980, I was glad to get it.
>
> Latest book, "What Clothes Reveal," to accompany the Williamsburg
> exhibit.
> (I've seen it once and must make plans to see it again.)
>
> Ann Wass
> _______________________________________________
> 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 Sep 27 01:08:40 2003
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I hope this is okay to post.  I'm moving out of state in about a week, and 
I'd love to find new homes for a few things.  More will turn up as I pack my 
sewing room, I'm sure...  ;)

Professional dressmaker's dummy -- Men's size 34 chest, which could be padded 
to any size bigger or for a woman.  It's got a cast iron stand with wheels, 
and is made out of wood with padding and muslin over it, great for pinning 
into.  The company that makes them has a website, and they retail for about $400.  
I'm asking $180 + shipping.  This is so much sturdier to work with than the 
other ones.

10 yards of medium weight white 100% linen, 60" wide.  $10 a yard.  Both this 
and the red get nice and soft after a washing.

10 yards of medium weight red 100% linen, 60" wide.  $10 a yard.

40+ square feet of black suede.  Lovely garment grade, can be sew on most 
machines.  $1.40 square foot, I paid $2 at wholesale.  This is plenty for a 
doublet with full sleeves or a short cape.  $56.00

70+ square feet of earthtone dark tan suede.  Lovely garment grade, can be 
sew on most machines.  $1.40 square foot, I paid $2 at wholesale.  This is 
plenty for a complete Elizabethan men's outfit.  A hunting outfit would be great!  
$98.00

40 square feet of rich brown suede.  Lovely garment grade, can be sew on most 
machines.  $1.40 square foot, I paid $2 at wholesale.  This is plenty for a 
doublet with full sleeves or a short cape.  $56.00

If there's an earthtone suede color that you need that I haven't listed, ask 
and I might have some.  I know I have lots moss and beige offhand, and a 13ft 
skin of purple...

Sharon
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Sanchez-Coello question
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> >> http://www.bowesmuseum.org.uk/collections/image.php3?Name=Portrait+of+
> >> Catherine+of+Austria&image=founders-b-m-5.jpg
> >> Is this design woven into the fabric, embroidered or a
> >> woven trim applied afterwards?
> >
> > It looks like a surface treatment to me. It is not woven that way. It
> > looks more like an embroidered or woven trim.
> >
> It looks like trim added to either side of slashes on a surcoat with the
> slashed closed by the intricate metallic frogs and pumpkin-shaped buttons.

I'd say couched something rather than trim. There is no mitring of corners
for around the slashes, and indeed the slashes look bound with something
different to the rest of the applied decoration (ie the edges of the slashes
as opposed to the area around the slashes). It just is too bitsy to be a
trim. And so much of what has survived shows decoration specific to the
garment.

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] Thanks, and another question
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> > http://glittersweet.com/1411frescojacquerio.jpg
> > I have no idea what is going on with this image at all. That hat thing
> > looks
> > like something from the 20thC;)

> Do you have more of this work scanned?  I would love to see it in
> context.


Yep it's from a Fountain of Youth fresco, from the youthful side. Atcually
the book is full of interesting and odd items. There is a German tapestry
with the most interesting costuming going on. Some gowns look like they are
vertically striped, but it's more likely to be that the artist (weaver) was
trying to show folds in the fabric and the paler shade had faded even more,
but some really do look like stripes.
And the gowns have bishop sleeves with goblet cuffs.

And there is a heart shaped book in there as well.

http://glittersweet.com/1411frescojacqueriofull.jpg
I'll see if I can find some illuminating test...

Follower of Giacomo Jaquerio, The Fountain of Youth, c. 1411-16. Fresco,
7'10 1/2" X 3'11" (24 X 12m[ummm... I suspect this is possibly the reverse?
maybe 7 X 3m? so 24 X 12'?])
Piedmont, Great Hall of the Castello di Manta.

The text just talks about the centre as being an excuse to paint nudes and
about the wealthy being able to revell in excess. And that the poor had the
Bath houses etc.

I got the book for the pictures;) The text makes me a bit annoyed at
times... Well with the title Medieval Art of Love it could be anything...;)

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] Thanks, and another question
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<<I would say that's a man in a woman's dress, with a white, striped
kerchief bundled up somehow.  Except the dress isn't cut for a woman,
it's very straight.  Man's under-dress?  The button-gauntlet sleeves are
interesting also.>>

I'm not sure. The other figures in the painting with that same hat thing are
women as well, a bit of presuming going on as they are all wearing long
chemises.

There is a bulge like a hip in the wrong place, or it could be the artist
trying to show the curve of the butt to show the figure is leaning forward.

True there are men being dressed by women on that side, but there are naked
old women on the other side, so maybe the artist realised he didn't have
enough women being dressed. There sould otherwise be the mistake that the
fountain not only restored youth but made you masculine unless he had a
female figure on that side;)

the full image is here:
http://glittersweet.com/1411frescojacqueriofull.jpg
As mentioend in a recent email... actually I'm typing them up together, no
idea which will go through first;)

michaela
http://costumes.glittersweet.com


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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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Subject: Re: [h-cost] Philadelphia Museum of Art-Schiaparelli Exhibit
Date: Sat, 27 Sep 2003 11:20:25 +0100
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My favourite designer a true innovative genius

not only that someone who looked after her staff well having crèches etc
and having to move out of Paris during the war because, unlike Chanel who
was a Nazi collaborator and treated her staff like crap,  Schiaparelli spoke
up against them

Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6717
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 26, 2003 10:56 PM
Subject: [h-cost] Philadelphia Museum of Art-Schiaparelli Exhibit


Here's a designer I would have enjoyed meeting and a new exhibit on her
work, but still not my top pick. I'm still thinking!


http://www.cnn.com/2003/TRAVEL/DESTINATIONS/09/26/shocking.schiaparelli.ap/index.html

Lisa
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michaela wrote:
> Follower of Giacomo Jaquerio, The Fountain of Youth, c. 1411-16. Fresco,
> 7'10 1/2" X 3'11" (24 X 12m[ummm... I suspect this is possibly the reverse?
> maybe 7 X 3m? so 24 X 12'?])
> Piedmont, Great Hall of the Castello di Manta.

If you do a search at Google for "Giacomo Jaquerio Castello Manta" you 
get lots of articles which you can then say "Translate this page" and 
read about the frescos, of which there are several in this castle.  I'm 
looking through them to see if anything covers the fountain of youth 
("Fontana of the giovinezza" in translation) in suitable depth for our 
purposes, but my time is short today.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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It's from an Italian fresco.  I think I recognize it from a friend's
book on the same subject--it caught my eye because of the depictions of
undergarments, which are not often seen.  Not sure of the subject of the
particular fresco, though.  If no one finds out before next week, I'll
ask her to lend it to me (I'd do that now, but she's in AZ going to
KWAS).
--sue, up early on a beeyootiful fall morning

Heather Rose Jones wrote:
> 
> At 10:06 AM -0700 9/26/03, Grace Morris wrote:
> >>I'll see if I can upload the odd images I have of a green and red garment
> >>that is actually being put on so you can see it's one garment. The lacing is
> >>loose so you can see it go from red to green.
> >>
> >>http://glittersweet.com/1411frescojacquerio.jpg
> >>I have no idea what is going on with this image at all. That hat thing looks
> >>like something from the 20thC;)
> >>
> >Do you have more of this work scanned?  I would love to see it in context.
> 
> What's more, knowing what genre the work is depicting might help in
> figuring out what's going on with the clothing.
> 
> Heather
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From h-costume-bounces@indra.com  Sat Sep 27 09:47:54 2003
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Date: Sat, 27 Sep 2003 07:49:19 -0600
From: Sue Clemenger <mooncat@in-tch.com>
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I'd imagine so.  There are other examples of women portrayed with green
dresses.
--sue

Catalina Sanabria Rosado wrote:
> 
> http://www.comune.roma.it/museicapitolini/pinacoteca/visita/sala3_savoldo.htm
> 
> This dress also appears green on the outer dress. Does
> anyone know if it really is?
> 
> =====
> Aurum peccamenes multifariam texit
> 
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From h-costume-bounces@indra.com  Sat Sep 27 09:50:02 2003
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Oh, how interesting!
I don't know if they're exactly the same, but they're certainly similar!
--sue

Catalina Sanabria Rosado wrote:
> 
> http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/largeImage?workNumber=NG2493&collectionSection=work
> 
> then look at
> 
> http://www.nga.gov/cgi-bin/pinfo?Object=41318+0+none
> 
> is this the same dress and same model? This apparently
> are allegorical works.
> 
> =====
> Aurum peccamenes multifariam texit
> 
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From h-costume-bounces@indra.com  Sat Sep 27 09:58:44 2003
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Hey, that's wonderful news!
As far as the wool goes, why not just go with getting the right weight
of uncolored or white wool, and then dyeing it yourself? You can get
some great rusty and orange shades with madder. Or turmeric for the
mustardy yellow, although I've been told that turmeric fades.
And I bet there are (modern, chemical) dyes out there, too, that would
give you the colors you'd like.
--sue, who's sorry she doesn't really have any wool stores to
recommend....


Cascio Michael wrote:
> 
> Hello the list,
>     I just got my biopsy results and the cancer was
> benign.  Snooopy Happy Dances around room and will
> probably do same for hours and days.
>     Now that I know I'll be around to at least
> consider finishing some of my projects I need either
> rust or pumpkin or mustard colored wool.  Russet in
> the red-brown or cinnamon shades is preferred and I
> need either pant weight or crepe weight.  I really
> would prefer someplace that swatches so I can see how
> well the samples felt.  Any suggestions?
>                                        Cassandra
> 
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From h-costume-bounces@indra.com  Sat Sep 27 10:14:18 2003
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Subject: Re: [h-cost] Fun time machine question
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I'd go snatch up "John the Tailor" ...some fella who tailored for the middle 
classes. Then I stick Alcega in a sack, bring him back with me and make him 
explain to me why his kirtles were so long.

-Sarra Wryght
www.sixteenthcenturystitchery.com (Elizabethan Dress Diaries, etc)
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I think I'd get myself outfitted with a tiny video camera and lots and 
lots of tapes and batteries, and just walk around several cities in 
different time periods, taking movies.  That, all by itself, would be an 
education!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.       -- Noam Chomsky
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----- Original Message -----
From: "Dawn Wood" <dawn@agesofelegance.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 27, 2003 3:20 AM
Subject: Re: [h-cost] Philadelphia Museum of Art-Schiaparelli Exhibit


> My favourite designer a true innovative genius
>
> not only that someone who looked after her staff well having crèches etc
> and having to move out of Paris during the war because, unlike Chanel who
> was a Nazi collaborator and treated her staff like crap,  Schiaparelli
spoke
> up against them
>
> Dawn
> Ages Of Elegance makers of historical clothing, uniforms and bridalwear
> http://www.agesofelegance.co.uk 0113 277 6717
> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, September 26, 2003 10:56 PM
> Subject: [h-cost] Philadelphia Museum of Art-Schiaparelli Exhibit
>
>
> Here's a designer I would have enjoyed meeting and a new exhibit on her
> work, but still not my top pick. I'm still thinking!
>
>
>
http://www.cnn.com/2003/TRAVEL/DESTINATIONS/09/26/shocking.schiaparelli.ap/i
ndex.html
>
> Lisa
> _______________________________________________
> 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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> http://mail.indra.com/mailman/listinfo/h-costume


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Dawn Wood wrote:

> My favourite designer a true innovative genius
>
> not only that someone who looked after her staff well having crèches etc
> and having to move out of Paris during the war because, unlike Chanel who
> was a Nazi collaborator and treated her staff like crap,  Schiaparelli
spoke
> up against them
>

Yeah, I thought quite a bit about Coco Chanel as a pick, but meeting her
would probably be a very unpleasant experience, although perhaps I'd get to
stay at the Ritz Hotel which would be nice.  I'm going to have to say a week
at the Great Wardrobe.  Then I'd come back and tell everyone where the bents
go in a bumroll!

Lisa Sinervo


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From: kat@grendal.rain.com
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Date: Sat, 27 Sep 2003 09:27:40 -0700
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> Regina
> P.S.  Did you know that a town in France, Perpignan where they wove
> stretchy fabric in the 14th Century for making hose?  Got to write her
> and ask questions!)

Cool!

Regina, you will share what you learn with us, won't you?!

Of course, some of their textiles (at least on the bias) were a lot 
stretchier than our fabrics of the same fibre. It has to do with how 
the fibre is handled and how the textile is processed.

Kat
<kat@redtrollforge.com>


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>  I don't
> draw awfully well myself, but the primitive work done by these people
> from the past at least kept the idea of HCostume alive until the
> learned efforts by Arnold, Hunniset, and all the other costume history
> people of lesser renown were able to do and present their studies for
> the edification of us all.  Would that each of us could add even one
> 'Inch" to the vast area of our World.

While I understand the sentiment, it doesn't mean that the books are 
appropriate for use now. 

For example (in another field for perspective), why would one want to 
use mere palpation and physical exam for finding a brain tumor in 
someone when we now have CAT scans and MRIs? We can tip our hats to 
the ones who blazed the trails but you don't need to go back to their 
methods now that we have ones which are better now.

So, we can look at those books for historically understanding the 
evolution of historic costume but we need to use our best sources 
(and direct others to those sources instead of the now inappropriate 
ones) as soon as they are available for the research and work we now 
do.

Sometimes this is very painful. I just finished re-writing a 4 hour 
class on the history of men's and women's underwear in the Middle 
Ages and Renaissance. I thought it was already in the can until I 
looked at my "script" and the handout for the class (especially the 
bibliography.) I read through the "script" going "but I found out 
that that's not true based on the information that came out in 200X" 
and at the handout going "I can't believe I actually cited X, X and 
X". 

But then, I also had to revise the handout because it had so many 
Wilcox (and similar author's) redrawings. Argh! I can't believe what 
we used to get away with regarding copyright laws. 

But then, photocopy quality has gone *way* up as has the method of 
producing the originals. I can now use selected scans of actual art 
works (which I prefer anyway) because instead of using cut and paste 
(with lots of pale blue pencil and re-inking of things) I can use 
Pagemaker and directly place pics into documents. 

Kat
<kat@redtrollforge.com>


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I had written:
> > > It looks like a surface treatment to me. It is not woven that way.
> > > It looks more like an embroidered or woven trim.

Michaela wrote:
> I'd say couched something rather than trim. There is no mitring of
> corners for around the slashes, and indeed the slashes look bound with
> something different to the rest of the applied decoration (ie the
> edges of the slashes as opposed to the area around the slashes). It
> just is too bitsy to be a trim. And so much of what has survived shows
> decoration specific to the garment.

That's why I was thinking embroidered. If you have an embroidered 
piece (call it the "trim") and want to attach it, you can use 
couching to do so. I noticed that the edge seems more elevated than 
the interior of the "trim". It looked almost like piping because of 
it's thickness. And the edge of the slash itself reminded me of a 
piped bound buttonhole.

I agree, however, that it was not a trim the way we think of it: long 
yardage that we cut up into bits to do the same thing. (But there is 
no way we have the time to do all that embroidery and still get the 
dress done in a short enough time frame, yet still have our otherwise 
modern life. Got to make some concessions to modern life.)

Kat
<kat@redtrollforge.com>


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Kat, I am glad you have taken the time to respond to my note re using what
are, in the professional trade, inferior visual references. I still maintain
that JQPublic doesn't give a  hoot re the historicity of a period costume.
Heck, most of them still haven't gotten the difference between 1800 and the
Eighteenth Century! A visual timeline by Peacock or anyone else will be
their only connection between the costume they have in mind and its
appropriateness to the era required. I often see people cruising the fabric
stores with pattern in hand, looking for the duplicate fabric as pictured in
the cover. They don't do well with spatial concepts.
As an interpreter of period fashion, I can and do help them toward a more
real approach to coming closer to the right choices for line, color,
pattern/ornamentation, trim, fabric choices, and etc.  Every costume cannot,
and should not be only replicas of 'known models'. Such labors of love have
a legitimate place in Historical Costume, but not every situation can demand
such an exactitude.
Kathleen
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 27, 2003 12:27 PM
Subject: Re: worst book (was [h-cost] Books


>
> >  I don't
> > draw awfully well myself, but the primitive work done by these people
> > from the past at least kept the idea of HCostume alive until the
> > learned efforts by Arnold, Hunniset, and all the other costume history
> > people of lesser renown were able to do and present their studies for
> > the edification of us all.  Would that each of us could add even one
> > 'Inch" to the vast area of our World.
>
> While I understand the sentiment, it doesn't mean that the books are
> appropriate for use now.
>
> For example (in another field for perspective), why would one want to
> use mere palpation and physical exam for finding a brain tumor in
> someone when we now have CAT scans and MRIs? We can tip our hats to
> the ones who blazed the trails but you don't need to go back to their
> methods now that we have ones which are better now.
>
> So, we can look at those books for historically understanding the
> evolution of historic costume but we need to use our best sources
> (and direct others to those sources instead of the now inappropriate
> ones) as soon as they are available for the research and work we now
> do.
>
> Sometimes this is very painful. I just finished re-writing a 4 hour
> class on the history of men's and women's underwear in the Middle
> Ages and Renaissance. I thought it was already in the can until I
> looked at my "script" and the handout for the class (especially the
> bibliography.) I read through the "script" going "but I found out
> that that's not true based on the information that came out in 200X"
> and at the handout going "I can't believe I actually cited X, X and
> X".
>
> But then, I also had to revise the handout because it had so many
> Wilcox (and similar author's) redrawings. Argh! I can't believe what
> we used to get away with regarding copyright laws.
>
> But then, photocopy quality has gone *way* up as has the method of
> producing the originals. I can now use selected scans of actual art
> works (which I prefer anyway) because instead of using cut and paste
> (with lots of pale blue pencil and re-inking of things) I can use
> Pagemaker and directly place pics into documents.
>
> Kat
> <kat@redtrollforge.com>
>
>
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Sanchez-Coello question
To: Historical Costume <h-costume@indra.com>
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>From studying the embroideries of the time period--(and since that's what I teach:) I'm fairly certain what we are looking at is a form of metal thread/gold bullion embroidery.There are all sorts of techniques that  where employed during this time period to attach gold , and silver , and sometimes copper--to  embellish the surface of clothing and hangings. When the piece wore out --it was cut off the original and re-attached in place on a new piece of clothing or hanging, often with couching more embellishments on top of the joinings . These pieces of embroidery were considered so valuable that they were bequeathed in wills. 
Albra 

kat@grendal.rain.com wrote:
I had written:
> > > It looks like a surface treatment to me. It is not woven that way.
> > > It looks more like an embroidered or woven trim.

Michaela wrote:
> I'd say couched something rather than trim. There is no mitring of
> corners for around the slashes, and indeed the slashes look bound with
> something different to the rest of the applied decoration (ie the
> edges of the slashes as opposed to the area around the slashes). It
> just is too bitsy to be a trim. And so much of what has survived shows
> decoration specific to the garment.

That's why I was thinking embroidered. If you have an embroidered 
piece (call it the "trim") and want to attach it, you can use 
couching to do so. I noticed that the edge seems more elevated than 
the interior of the "trim". It looked almost like piping because of 
it's thickness. And the edge of the slash itself reminded me of a 
piped bound buttonhole.

I agree, however, that it was not a trim the way we think of it: long 
yardage that we cut up into bits to do the same thing. (But there is 
no way we have the time to do all that embroidery and still get the 
dress done in a short enough time frame, yet still have our otherwise 
modern life. Got to make some concessions to modern life.)

Kat



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Good point! I would have said strips of pre-embroidered/couched trim,
but perhaps not.
Or maybe it's a combination of both, and it's just not obvious with the
darkness of the online image? I must say, the stuff I've seen that's at
all similar (either in portraits or extant garments like Eleanor of
Toledo's burial gown) are embroidery done on strips, and not on the
garment itself.
Having typed that, of course, <g> I fully expect a flood of pictures
showing me where I'm wrong, but that's half the fun of this list!
--sue

michaela wrote:
> 
> > >> http://www.bowesmuseum.org.uk/collections/image.php3?Name=Portrait+of+
> > >> Catherine+of+Austria&image=founders-b-m-5.jpg
> > >> Is this design woven into the fabric, embroidered or a
> > >> woven trim applied afterwards?
> > >
> > > It looks like a surface treatment to me. It is not woven that way. It
> > > looks more like an embroidered or woven trim.
> > >
> > It looks like trim added to either side of slashes on a surcoat with the
> > slashed closed by the intricate metallic frogs and pumpkin-shaped buttons.
> 
> I'd say couched something rather than trim. There is no mitring of corners
> for around the slashes, and indeed the slashes look bound with something
> different to the rest of the applied decoration (ie the edges of the slashes
> as opposed to the area around the slashes). It just is too bitsy to be a
> trim. And so much of what has survived shows decoration specific to the
> garment.
> 
> michaela
> http://costumes.glittersweet.com
> 
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I'll vote for the books by Iris Brooks, myself.
--sue

Carolyn Kayta Barrows wrote:
> 
> >I dimly recall hearing "Cassin is awful," but I've never seen it in
> >person.
> >
> >I wouldn't buy it unless you have a collection of awful costuming texts.
> 
> So what's the worst historical costume book ever printed?  My vote goes for
> Pocock's book with all the badly proportioned re-drawings.  Any other votes?
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
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Good point, Kathleen.  I've been awfully spoiled with the ability to
purchase wonderful books and articles from the Costuming Gods (living
and dead), never mind such astonishing resources as the internet, and
lists like this.
As a funny, though, when I was first getting into historical costuming
(about 15-16 years ago when I joined the SCA), one of the first books I
remember coming across was something by Iris Brooks.  Having no clue
whatsoever about how inaccurate a source it was, I was very carefully
making sketches of the illos., and noting the color combinations <rueful
grin> As a rank newbie, it just didn't occur to me that someone would go
to all that trouble for a book, and not put in the "real" colors!
--sue

Lloyd Mitchell wrote:
> 
> I gather that there are a lot of you out there that came to HCostume after
> the mid 1960s. You cannot imagine what was commonly available at that time
> re research or how-to for costuming that was in any way connected with
> History. I was thrust into a theater venue that sent me to the Art History
> Dept for real pictures of designs from the past and the likes of Wilcox,
> Barton, Davenport,Kohler, Cassin and etc, were Lights! Peacock, who gained a
> space on my shelf rather late, presented an incorporation of ideas and
> designs that could communicate with my customers if only for the line change
> in fashion development. I don't draw awfully well myself, but the primitive
> work done by these people from the past at least kept the idea of HCostume
> alive until the learned efforts by Arnold, Hunniset, and all the other
> costume history people of lesser renown were able to do and present their
> studies for the edification of us all.  Would that each of us could add even
> one 'Inch" to the vast area of our World.
> 
> Kathleen
> ---- Original Message -----
> From: "Dawn Wood" <dawn@agesofelegance.co.uk>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, September 25, 2003 5:17 AM
> Subject: Re: worst book (was [h-cost] Books
> 
> > do bear in mind when complaining about the Peacock book that it was
> written
> > in the seventies which accounts for the fashion drawing style by a costume
> > designer not a historian for the same market and there wasn't much around
> > then reference wise for grown ups.
> > I worked with John on several accessions and he was the first to admit it
> > wasn't the best book but what was wanted at the time. I don't own it btw
> for
> > just those reasons
> >
> > I think we can say the same about many of the other 'bad ones around
> today.
> > The kohler book for instance is useful because many garments in there
> don't
> > survive any more. Cassin's osprey nelsons navy book is also rather useful
> > using it atm
> >
> > My first book which got me hooked when I was 7 from the local library was
> a
> > costume timeline book which I still adore. if only for nostalgia reasons
> >
> > My last a 1911 tailoring magazine for the chauffeurs uniform pattern draft
> > as I kept getting enquiries for one. There have been rather a lot in
> between
> > and still not enough but thankfully they are tax deductible
> >
> > Dawn
> >
> >
> >
> > Ages Of Elegance makers of historical clothing, uniforms and bridalwear
> > http://www.agesofelegance.co.uk 0113 277 6717
> > > > >I dimly recall hearing "Cassin is awful," but I've never seen it in
> > > > >person.
> > > > Pocock's book with all the badly proportioned re-drawings.  Any other
> > > > votes?
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
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I'm currently brainstorming a cape made from one of the patterns in Betty Kirke's "Vionnet" book. I am having some problems running into scaling the patterns up without losing proportion.

First - I looked through the book and can't find a scale - for those who haven't had a chance to look at this fantastic book, none of the patterns are on a grid, so I have no idea of scale.

The second question has to do with mechanics - even if I could figure out how big I need this to be, how would I enlarge the pattern without destroying the proportion? The only thing I can think of would be to project it on a wall to get the size I need and then trace it off, but I don't have easy access to a wall large enough, or a projector!

Has anyone tried to do something similar to this? 

Allison T.

P.S. If anyone has tips on where to get long, wide sheets of paper, I'd love to hear them. I'm considering calling up my local newspaper!


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Subject: Re: worst book (was [h-cost] Books
Date: Sat, 27 Sep 2003 15:26:48 -0400
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Having just spent most of the day reshelving my library, I came across my
copy of MS Brooks and was struck anew with the primitive illustrations. They
make Peacock look like an "Old Master'. If I take time to read the chapters,
I wonder how far off she was, given the scholarship of the time.(Pub. when?)
Of more interest  to me, I rediscovered the following.  Any comments?
Calthrop, English Costume, 4 volumes, 1906

Airne, The story of Britain, (Pre history Rome, Medieval, Saxon/Roman,
Stuart/Tudor, and Hanoverian) No date; distributed via the Woolworth co,
USA, Pub. Sankey and Hudson co Manchester, England. (Lots of bibliography
and b&w drawings/ prints from various artifacts, and etc.)

Period Patterns, Doris Edson and Lucy Barton, W.H.Baker co, Boston.
(Companion to the Barton Theater volume)

Costume Fanciful and Historical and Theatrical, Mrs. Aria; illustrated by
Percy Anderson, 1906.

Kathleen
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 27, 2003 2:34 PM
Subject: Re: worst book (was [h-cost] Books


> Good point, Kathleen.  I've been awfully spoiled with the ability to
> purchase wonderful books and articles from the Costuming Gods (living
> and dead), never mind such astonishing resources as the internet, and
> lists like this.
> As a funny, though, when I was first getting into historical costuming
> (about 15-16 years ago when I joined the SCA), one of the first books I
> remember coming across was something by Iris Brooks.  Having no clue
> whatsoever about how inaccurate a source it was, I was very carefully
> making sketches of the illos., and noting the color combinations <rueful
> grin> As a rank newbie, it just didn't occur to me that someone would go
> to all that trouble for a book, and not put in the "real" colors!
> --sue
>
> Lloyd Mitchell wrote:
> >
> > I gather that there are a lot of you out there that came to HCostume
after
> > the mid 1960s. You cannot imagine what was commonly available at that
time
> > re research or how-to for costuming that was in any way connected with
> > History. I was thrust into a theater venue that sent me to the Art
History
> > Dept for real pictures of designs from the past and the likes of Wilcox,
> > Barton, Davenport,Kohler, Cassin and etc, were Lights! Peacock, who
gained a
> > space on my shelf rather late, presented an incorporation of ideas and
> > designs that could communicate with my customers if only for the line
change
> > in fashion development. I don't draw awfully well myself, but the
primitive
> > work done by these people from the past at least kept the idea of
HCostume
> > alive until the learned efforts by Arnold, Hunniset, and all the other
> > costume history people of lesser renown were able to do and present
their
> > studies for the edification of us all.  Would that each of us could add
even
> > one 'Inch" to the vast area of our World.
> >
> > Kathleen
> > ---- Original Message -----
> > From: "Dawn Wood" <dawn@agesofelegance.co.uk>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Thursday, September 25, 2003 5:17 AM
> > Subject: Re: worst book (was [h-cost] Books
> >
> > > do bear in mind when complaining about the Peacock book that it was
> > written
> > > in the seventies which accounts for the fashion drawing style by a
costume
> > > designer not a historian for the same market and there wasn't much
around
> > > then reference wise for grown ups.
> > > I worked with John on several accessions and he was the first to admit
it
> > > wasn't the best book but what was wanted at the time. I don't own it
btw
> > for
> > > just those reasons
> > >
> > > I think we can say the same about many of the other 'bad ones around
> > today.
> > > The kohler book for instance is useful because many garments in there
> > don't
> > > survive any more. Cassin's osprey nelsons navy book is also rather
useful
> > > using it atm
> > >
> > > My first book which got me hooked when I was 7 from the local library
was
> > a
> > > costume timeline book which I still adore. if only for nostalgia
reasons
> > >
> > > My last a 1911 tailoring magazine for the chauffeurs uniform pattern
draft
> > > as I kept getting enquiries for one. There have been rather a lot in
> > between
> > > and still not enough but thankfully they are tax deductible
> > >
> > > Dawn
> > >
> > >
> > >
> > > Ages Of Elegance makers of historical clothing, uniforms and
bridalwear
> > > http://www.agesofelegance.co.uk 0113 277 6717
> > > > > >I dimly recall hearing "Cassin is awful," but I've never seen it
in
> > > > > >person.
> > > > > Pocock's book with all the badly proportioned re-drawings.  Any
other
> > > > > votes?
> > >
> > >
> > > _______________________________________________
> > > 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 h-costume-bounces@indra.com  Sat Sep 27 15:35:33 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <A4DF80F6AB5FB442A2E5B8838062D73F036497@topcat.systemsfirm.net>
Subject: Re: [h-cost] enlarging patterns from books?
Date: Sat, 27 Sep 2003 21:35:50 +0200
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Hello.
I do this all the time. Using a projektor. If you have to scale it up, as
you say so that you have not a wall large enough, you can take pieces by
pieces of it.
Norah Waughs corsets and crinolines i have done it with and also with The
cut of womens clothes.
This way you get a precise enlarging, and then you can alter it, so that it
fits into your projekt.
My projektor is very old, it is called an ennascope.
I scan the pattern first, and then i make it smaller on the computer so that
it fits my ennascope.
Works beautifully.
I dont have a wall big enough either, and there is two much light in the
livingroom.
Therefore i do it in our hall. And i projekts on the door in stead, tapes up
some pattern paper on the door and draws it there.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "A.Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Sent: Saturday, September 27, 2003 9:15 PM
Subject: [h-cost] enlarging patterns from books?


> I'm currently brainstorming a cape made from one of the patterns in Betty
Kirke's "Vionnet" book. I am having some problems running into scaling the
patterns up without losing proportion.
>
> First - I looked through the book and can't find a scale - for those who
haven't had a chance to look at this fantastic book, none of the patterns
are on a grid, so I have no idea of scale.
>
> The second question has to do with mechanics - even if I could figure out
how big I need this to be, how would I enlarge the pattern without
destroying the proportion? The only thing I can think of would be to project
it on a wall to get the size I need and then trace it off, but I don't have
easy access to a wall large enough, or a projector!
>
> Has anyone tried to do something similar to this?
>
> Allison T.
>
> P.S. If anyone has tips on where to get long, wide sheets of paper, I'd
love to hear them. I'm considering calling up my local newspaper!
>
>
> _______________________________________________
> 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 Sep 27 16:23:10 2003
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Only with small bits for embroidery or appliqué designs, and then I used
a photocopier, and experimented with the variable enlarger thingy until
I got my bit to the right size.
Do you have any idea of what the finished cape will look like? Could
you, maybe, start off your pattern draft with measurements taken from
another (known) item, like another cape, or a pattern for same?
--sue

"A.Thurman" wrote:
> 
> I'm currently brainstorming a cape made from one of the patterns in Betty Kirke's "Vionnet" book. I am having some problems running into scaling the patterns up without losing proportion.
> 
> First - I looked through the book and can't find a scale - for those who haven't had a chance to look at this fantastic book, none of the patterns are on a grid, so I have no idea of scale.
> 
> The second question has to do with mechanics - even if I could figure out how big I need this to be, how would I enlarge the pattern without destroying the proportion? The only thing I can think of would be to project it on a wall to get the size I need and then trace it off, but I don't have easy access to a wall large enough, or a projector!
> 
> Has anyone tried to do something similar to this?
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Subject: [h-cost] Bumrolls and farthingales -- together or not?
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I've spent some time recently working with trying to fix some problems in 
my farthingale, and checking skirts with bumroll, farthingale, and both, 
trying to figure out the apparent angles and proportions. (For reference, 
both farthingale and bumroll are from Margo's Underpinnings package.)

I notice that if I wear the (crescent-shaped) bumroll alone, I get a very 
good "middle to mid-late period" look, and if I wear the farthingale alone 
I get a very good "early period look". The few images I've seen of the 
"bumroll" look have the hem of the skirt stick out no further than the 
bumroll (thinking particularly of the one French funeral bronze in Boucher; 
I don't have the book to-hand to give the exact reference).

What historical evidence do we have that bumroll and farthingale were worn 
*together*? Or is that just a renfaire-ism?



Brenda
webwarren@earthlink.net


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Date: Sat, 27 Sep 2003 17:18:14 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] enlarging patterns from books?
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Hi Allison,

>P.S. If anyone has tips on where to get long, wide sheets of paper, 
>I'd love to hear them. I'm considering calling up my local newspaper!

      Rather then a newspaper, see if you can locate a web printer who 
does magazines.  While glossy magazine paper isn't easy to write on, 
there is a trend now for matte finish paper that is easier.  A 
printer will sometimes use plain, uncoated paper on certain projects, 
so you may be able to find that as well.  Newsprint will yellow in 
time.

      A web printer uses a web of paper, actually a large roll. 
Generally this roll will be about 3 feet in diameter.  When the paper 
gets near the end of the roll, they attach a new roll end and keep on 
printing.  It's easier that way than letting the old roll run out & 
rethreading the press.

      The old roll will have an inch or two of paper left on it, which 
is enough for lots of patterns.  It's called a butt roll (no 
kidding!), and most printers grind them up (cardboard core and all) 
for recycling.

      If you call ahead and describe the paper you would like, they 
may be able to hold one for you.  I used to get them when I went on 
press inspections for a magazine.

      -Carol
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Subject: Re: [h-cost] enlarging patterns from books?
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On Sat, 27 Sep 2003 15:15:31 -0400 "A.Thurman" <athurman@cybergal.com>
writes:
> I'm currently brainstorming a cape made from one of the patterns in 
> Betty Kirke's "Vionnet" book. I am having some problems running into 
> scaling the patterns up without losing proportion.
> 
> First - I looked through the book and can't find a scale - for those 
> who haven't had a chance to look at this fantastic book, none of the 
> patterns are on a grid, so I have no idea of scale.
> 
> The second question has to do with mechanics - even if I could 
> figure out how big I need this to be, how would I enlarge the 
> pattern without destroying the proportion? The only thing I can 
> think of would be to project it on a wall to get the size I need and 
> then trace it off, but I don't have easy access to a wall large 
> enough, or a projector!
> 
> Has anyone tried to do something similar to this? 
> 

        OK, you're doing a cape, right?  Then check the length of the
pattern from the neck opening to the hem.  For a 54" long cloak, the
center back of the pattern would be 7" long.  Basically, it means that
the pattern is in 1/8th scale, and all the small measurements would be
multiplied by 8.  If you go to http://www.geocities.com/astridofthehorde
, allow it to load, and scroll down from the small pictures, you'll see a
link for patterns.  On the pattern page, you'll see directions for the
radiating method of enlarging patterns.  You just need to know the scale.
 Does this make sense?  If not, email me and I'll try to clarify
anything.  I make alot of my own patterns from scale ones.

> 
> P.S. If anyone has tips on where to get long, wide sheets of paper, 
> I'd love to hear them. I'm considering calling up my local 
> newspaper!


        Newsprint works great, though for long gowns and such from the
early periods, you will have to piece them together, but it's cheap
paper, so I'm always willing to do that.  In fact, I'm about due for some
more again.  But it's been something like 4 years since I last got any.
<grin>

Astrid
Never argue with a dragon, for thou art crunchy and go well with Brie.
    http://www.geocities.com/tul_juriss - for links to ALL my current
sites
    http://www.geocities.com/astridofthehorde - costumes I've made
    http://www.geocities.com/house_qul_mupwi - The noble Klingon House
    http://www.geocities.com/klingon_pirates_guild - The Klingon Pirate's
Guild

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>I'm currently brainstorming a cape made from one of the patterns in Betty Kirke's "Vionnet" book. I am having some problems running into scaling the patterns up without losing proportion.
>
>First - I looked through the book and can't find a scale - for those who haven't had a chance to look at this fantastic book, none of the patterns are on a grid, so I have no idea of scale.
>
That is because those patterns are not sized to any true scale.  I asked 
the author about this once.  Her goal seemed to be to explain Vionnet's 
pattern-making process, not to give scaled patterns. 

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Subject: Re: [h-cost] enlarging patterns from books?
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You need to find what the lengths need to be for you. I don't know the 
pattern but measurements like CB neck to floor [is it floor length?] or to wherever 
the hem should come or across the shoulders in back, get them and assume the 
pattern should be that length. It may not actually be that [you may be shorter 
or taller] but it will be close. Once you get it up to that size, then you can 
refine it. Use the original pattern SHAPES as a guide. Just keep them looking 
about the same shape even if the proportions need to be a little different.

As to getting it up to size, try to figure out what 1" should equal on the 
smaller pattern in the book. Is 1/4"=1" close? How about 1/8" = 1"? Or use 
metric if that seems to work easier [divided by 10s instead of 12s. There's no 
converting so it's really easy.]
Or go to the local college library and see if you can use an opaque 
projector. Those big clunky things you used in elementary school. You can put a book in 
them. If all you can find at the library is a transparent projector, you can 
have the pattern Xeroxed onto a transparency at any printing place, like Alpha 
Graphics. Project it so it's that size it should be that you measured on 
yourself. A hallway can be useful here. But a lot of the time, you really don't 
need that long a distance. Go outside at night if you have to! This will still 
only give you a rough pattern that will need to be cleaned up and adjusted.

Paper can be gotten at a printers or [depending on where you are] a paper 
company. When I worked for a print house, we used to call the local paper company 
and they'd come up with just about anything we asked for. The butcher may 
have some rolls of paper [though everything is wrapped in plastic these days] 
Party supply stores sometimes have paper for making banners.

But remember: THE PATTERN IS JUST A START. The thing doesn't have to fit you 
perfectly directly from the pattern! You'll have to fit most things anyway. 
Don't angst so much over the pattern...get the SHAPES right. Make a mock up and 
fit it.

Most of all, have fun.
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Subject: [h-cost] enlarging period patterns
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I have enlarged a few different Janet ARnold patterns for a few theatre 
costumes and this is what I have learned:

For me, the easiest is kind of old technology:  I use an overhead projector 
(like the kind at high school), and get my husband to photocopy the patterns 
onto transparencies.  It usually takes two or three to get all the pieces of 
the pattern in whole pieces.  Don't try to match them on the wall, it won't 
work.

Level and true your overhead by projecting a grid, measure the squares on 
your wall or paper, to make sure the projection is even.  Adjust by raising 
or lowering its little feet, or moving forward or back from the wall.

The last projection was most successful:  I scaled the pattern up a size 
that matched the actress's FRONT Width (that's the measure from armpit 
crease to armpit crease).  I did this, instead of enlarging the grid from 
1/8th of an inch to one inch on the wall, because usually the dresses in 
Arnold fit very small people.  We are all a lot larger now a days.  But I 
had also heard that shoulders, neck and armholes are hardest to fit, but 
also fluctuate less in size.  So I matched that measurement, traced out the 
pattern (do it all at once, every single piece, you will not be able to do 
this again, if you move the projector), and then cut it out.

The proportions for the neckline and shoulder stay the same.  you won't have 
to do major grading work, as I had to on the others, and you probably won't 
end up with outsize shoulders if you go by a bust measurement.

I did have to alter for length, bust, and waist and hips, but the altering 
was much easier...

This is just my trial and error method, anyone else?

Moira

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Subject: RE: [h-cost] Thanks, and another question
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Michaela,

	Just after I wrote you from your website with a question that you had
already answered (read _all_ the mail Regina, before you ask questions!) I
did a search on Jacquerio only.  I came up with a site on Slow Travelers
Italy - Renaissance Frescos
http://www.slowtrav.com/italy/notes/art/pk_frescoes.htm
I hoped that it would have some of the frescos illustrated on-line, but no
such luck.  However, it did mention a two volume set of books by saying:

"In my opinion, the best books about Italian Frescoes are a two volume set
of large, expensive, full color books ($135 each). Because we love frescoes,
and we travel all over Italy to see them, I bought these books.

Steffi Roettgen, Italian Frescoes: The Early Renaissance 1400-1470,
Abbeville Press Publishers, 1997.

Steffi Roettgen, Italian Frescoes: The Flowering of the Renaissance
1470-1510, Abbeville Press Publishers, 1997.

Each book describes what the author considers to be the significant frescoes
of the time period. They have detailed descriptions of each fresco series
and pages of beautiful photographs of them. I have listed the frescoes
described in these two books. They are sorted by town within region. It is
our personal goal to see each of these frescoes eventually."

I checked Amazon, and they are Expensive!!  However, I checked with WorldCat
online service from my local county library, and, although this library
doesn't have the books, about 356 associated libraries do!  So, I just
requested them via inter-library loan.

For people who are interested in this time period of Italian costuming, you
might want to do the same.


Regina Romsey

>
> the full image is here:
> http://glittersweet.com/1411frescojacqueriofull.jpg
> As mentioned in a recent email... actually I'm typing them up together, no
> idea which will go through first;)
>
> michaela
> http://costumes.glittersweet.com
>


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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] enlarging patterns from books?
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Fortunately, most of the pattern pieces that Vionnet used were very
simple shapes and should be easier to enlarge than most tailored
garment patterns.

Sheryl N-D

At 12:49 PM 9/27/03 -0700, you wrote:

>That is because those patterns are not sized to any true scale.  I asked 
>the author about this once.  Her goal seemed to be to explain Vionnet's 
>pattern-making process, not to give scaled patterns.
>Fran




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Lloyd Mitchell (Kathleen) wrote:

>Having just spent most of the day reshelving my library, I came across my
>copy of MS Brooks and was struck anew with the primitive illustrations. They
>make Peacock look like an "Old Master'. If I take time to read the chapters,
>I wonder how far off she was, given the scholarship of the time.(Pub. when?)
>Of more interest  to me, I rediscovered the following.  Any comments?
>Calthrop, English Costume, 4 volumes, 1906
>
>  
>
Oh good grief! I have that one (calthrop) but in one volume. I was 
fascinated by it when I was a kid. I have it because it is a rare book, 
not because it is a costume book.
The drawings are beautiful watercolors (I think) but they seem to have 
little to do with historical costume.

liz young


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Kat,

	If you haven't gotten this book yet I highly recommend it.  Dressing
Renaissance Florence; Families, Fortunes, and Fine Clothing, Carole Collier
Frick,  The Johns Hopkins University Studies in Historical and Political
Science 120th Series (2002)

	I found it fascinating, but I'm no expert.  Ms. Frick could be the Iris
Brooke of the textile historians and I wouldn't know, but considering who is
publishing the book, I rather doubt it.
	She defines the fabric perpigniano in the glossary as:  "Woolen jersey
cloth made in many colors, used mainly for hosiery worn by men, which
originated in the town of Perpignan France.  However, in the Arenti
ricordanza, f.59V, a gamurra for a girl is also recorded as fashioned of
'perpigniano azurro con maniche di velluto verde'; the Dominican friars also
occasionally made their toniche of perpigniano cupo."  In the text she
mentions it on page 45 as "a washable and stretchy woolen jersey fabric,
originally developed by weavers in Perpignan, France.  Hidetoshi Hoshino has
shown, however, that by the Quattrocento, Florentine production of
perpignano [her spelling occasionally changes for reasons I don't
understand] increased to accommodate the growing market."
	There are also Appendices for Currency and Measures in Renaissance
Florence, categories of Clothiers, cloth required for selected garments, and
the inventory of two Minerbetti trousseaux.
	The book has a wonderful bibliography, a good glossary and wonderful notes.
Unfortunately a couple of things that she breezes by in the text aren't
explained in either the notes or the glossary.  No color pictures, but the
illustrations are well known paintings. I'd prefer to have the book less
expensive and go to art books or the WebGallery for the color pics.

Regina
Now to go back and find the places I had questions marked since I dropped
the book and lost all the little bits of paper I had stuck in!  Next time I
take a book on a business trip, I'll put in a baggie with post-it notes!


> Cool!
>
> Regina, you will share what you learn with us, won't you?!
>
> Of course, some of their textiles (at least on the bias) were a lot
> stretchier than our fabrics of the same fibre. It has to do with how
> the fibre is handled and how the textile is processed.
>
> Kat
> <kat@redtrollforge.com>
>


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> Or maybe it's a combination of both, and it's just not obvious with the
> darkness of the online image? I must say, the stuff I've seen that's at
> all similar (either in portraits or extant garments like Eleanor of
> Toledo's burial gown) are embroidery done on strips, and not on the
> garment itself.
> Having typed that, of course, <g> I fully expect a flood of pictures
> showing me where I'm wrong, but that's half the fun of this list!

*grin* Most of what I've seen has been not in strips;) Mind you it's
suggested that Eleanora's was originally on another gown before this..
perhaps directly applied to it? I never did work that one out. Mind you I
don't own the book;) And it's been ages since I really looked specifically
at her garment.

I did recently have images of a child's Spanish dress from Payne's book on
my site, but I took them down as I'm trying to get my European trip on my
website and have been clearing out files...

That was a mix of direct applied embroidery and especially made trim...
though you could call it piecing rather than trim as it was on the same
fabric as the dress and was probably more for ease of working than actually
a trim as such. That "trim" was also really only for the skirt (guard type
things... it was made to look like the skirt was split, but it wasn't.)

And looking through the V&A book it's nearly all surface manipulation with
embroidery and surface manipulation... cord and such.

I suppose you could call couched cord a trim... there really is a spectrum
here, and trim for some may not be trim for others.

michaela
http://costumes.glittersweet.com


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For long paper, try someplace like "Smart-n-Final", "Costco" or "Sam's Club", the bulk food warehouses.  They sell rolls of butcher paper, I used to use it for absolutely everything.  You'll have to buy a big roll, but you'll never run out!


Jennifer Fleury
Guild Master 2003-2004
The Guild of St. Augustine
www.guildofstaugustine.org
 
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Thread-Topic: Re: Vionnet patterns (was: Enlarging patterns from books)
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Subject: [h-cost] Re: Vionnet patterns (was: Enlarging patterns from books)
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Fran Grimble wrote:

That is because those patterns are not sized to any true scale.  I asked 
the author about this once.  Her goal seemed to be to explain Vionnet's 
pattern-making process, not to give scaled patterns. 

Fran

	- At least now I know that I wasn't missing anything re: possible scale.

	- The pattern in question seems to be modified quarter-circles (quadrants), with darts and vents for shape and to accommodate the hood (which is a triangle). There is a center back marked, but I suspect that the hood takes up some of that length. 

	- So, my tentative plan is to use the front edge as a starting point, and make it's length the same as my own front neck-floor measurement. Once I know the ratio of the length on the pattern to my own physical measurement, I should have some idea of how long to draw the other lines - the pattern is mostly straight lines with a curved hem, and maybe I can use a kind of string and pencil compass to make that line.

	- Does this sound even remotely like it would work?

	- Also, thanks y'all the suggestion of calling a printer for their "butt rolls" - I will look up a few places locally and see what they offer. How much do they usually charge?

	- Allison T.

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From h-costume-bounces@indra.com  Sat Sep 27 23:17:33 2003
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bumrolls and farthingales -- together or not?
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Hmm...in Elizabeth's wardrobe accounts, mention of rolls as an integral
part of the skirts of french gowns--most likely sewn in-- are more common
than not, from the late 60s through the 70s.  Buckram (glue-stiffened
canvas) and frieze (a heavy wool) are commonly used in the skirt pleats of
these gowns as well.  Farthingales were listed throughout the same time
period, and were presumably worn with these gowns.  Not until 1580 did I
find a listing for a separate "roll" in the wardrobe accounts..and that
was made to accompany a half-farthingale.

I'm currently working on a bent rope farthingale, and the next french gown
I have will be thickly lined with wool & buckram in the pleats, with an
additional small roll stitched to the inside of the pleats...I'll bet this
will give the right look.

Good luck,

Drea

 On Sat, 27 Sep 2003, Brenda wrote:

> I've spent some time recently working with trying to fix some problems in
> my farthingale, and checking skirts with bumroll, farthingale, and both,
> trying to figure out the apparent angles and proportions. (For reference,
> both farthingale and bumroll are from Margo's Underpinnings package.)
>
> I notice that if I wear the (crescent-shaped) bumroll alone, I get a very
> good "middle to mid-late period" look, and if I wear the farthingale alone
> I get a very good "early period look". The few images I've seen of the
> "bumroll" look have the hem of the skirt stick out no further than the
> bumroll (thinking particularly of the one French funeral bronze in Boucher;
> I don't have the book to-hand to give the exact reference).
>
> What historical evidence do we have that bumroll and farthingale were worn
> *together*? Or is that just a renfaire-ism?
>
>
>
> Brenda
> webwarren@earthlink.net
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Sun Sep 28 01:28:36 2003
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Actually, you should buy the book Wanda mentioned because it really is worth
$135.00.  I scanned the relevent portions of the fresco and posted it at
http://www.medievalbookstore.com/fountain%20of%20youth.htm .

I think the person in the green and red is, if not a woman, a girl.  None of
the young men are wearing long gowns and her cap is similier to that of the
lady in the green houplande being kissed by the guy on a horse.

Janet

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com

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>>For long paper, try someplace like "Smart-n-Final", "Costco" or "Sam's 
>>Club", the bulk food warehouses.  They sell rolls of butcher paper, I used 
>>to use it for absolutely everything.  You'll have to buy a big roll, but 
>>you'll never run out!
>
>You can also try local newspapers.  They will often give away roll ends of 
>unprinted paper.  A friend of mine just got five roll ends for packing 
>dishes and it didn't cost her a dime.


Jennifer Sena
Distant Designs
http://home.teleport.com/~cedric/distdesi

I wont hurt you, I just want to dress you up!!

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You can buy a cheapie opaque projector from Dharma Trading.  It handles
a 4"x4" square of paper at a time, so you have to move the projector to
handle larger patterns (like a full book page).  Silk painters use these
things all the time.  It's a whole $25, so not much of a loss if you decide
you don't love it.
http://www.dharmatrading.com/html/eng/1967-AA.shtml

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Subject: Re: [h-cost] tv ad eye-candy
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Heather Rose Jones <hrjones@socrates.berkeley.edu> wrote
>Has anyone else (I guess this would be USA only) been admiring the HP 
>image-enhancement-services ads sporting what I take to be an early 17th 
>c. Dutch painting come to life?  (I'm embarrassed to confess that I 
>don't recognize the painting/painter, but I'm reasonably confident 
>about the time/place.)  It's the one with the young boy running through 
>the streets, if that twigs anyone's memory.
>
>It's not my era to be good on specifics, but as a costume generalist, I 
>was quite impressed with the clothing ... and there was a good deal of 
>it.
>
>Heather

We've got it too (maybe only on cable, I don't take note of what channel 
I'm watching).  It is really gorgeous, isn't it?

Jean
-- 
Jean Waddie
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Date: Sat, 27 Sep 2003 23:19:16 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Green Dress
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Mmmm, nice!  I've never seen that way of treating a transparent veil 
before, with that crinkled effect.

Jean


Catalina Sanabria Rosado <ladyforbeys@yahoo.com> wrote
>http://www.nga.gov/cgi-bin/pimage?500+0+0
>This is an interesting portrait by Girolamo di
>Benvenuto. I wish I could get a better look at the
>pattern of the sleeve fabric.
>
>=====
>Aurum peccamenes multifariam texit
>
>________________________________________________________________________
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Date: Sun, 28 Sep 2003 09:53:27 -0400
To: h-costume@indra.com
From: Brenda <webwarren@earthlink.net>
Subject: Re: Re: [h-cost] Bumrolls and farthingales -- together or not?
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Drea Leed <drea@nospam> responded to my question:

>Hmm...in Elizabeth's wardrobe accounts, mention of rolls as an integral
>part of the skirts of french gowns--most likely sewn in-- are more common
>than not, from the late 60s through the 70s.  Buckram (glue-stiffened
>canvas) and frieze (a heavy wool) are commonly used in the skirt pleats of
>these gowns as well.  Farthingales were listed throughout the same time
>period, and were presumably worn with these gowns.

Was Queen Bess (or were her subjects) wearing more styles than just the 
French gown at that time? Just as I have some tops that require a 
racer-back bra, some that require a strapless bra, some that require a 
long-line bra, and some that require one or another shape of "traditional" 
bra, I would imagine that the Great Wardrobe (and the wardrobes of any of 
the better-heeled women of the time) would have the proper underpinnings 
for *each* of the styles Her Grace (or the noblewoman in question) was 
currently wearing, if she was in the habit of wearing various different 
styles of garment.

Without more specific detail, can one reasonably "presume" one way or the 
other?

>I'm currently working on a bent rope farthingale, and the next french gown
>I have will be thickly lined with wool & buckram in the pleats, with an
>additional small roll stitched to the inside of the pleats...I'll bet this
>will give the right look.

Quite possibly, since the bent-rope farthingale will presumably be not 
nearly as stiff as a metal, reed, or plastic-tubing hooped farthingale.




Brenda
webwarren@earthlink.net


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bumrolls and farthingales -- together or not?
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On Sunday 28 September 2003 09:53 am, Brenda wrote:
> Drea Leed <drea@nospam> responded to my question:
[snip]

> Was Queen Bess (or were her subjects) wearing more styles than just the
> French gown at that time?

Someone with access to Queen Elizabeth's Wardrobe Unlocked can answer this 
more authoritatively, but I remember seeing references to her also wearing 
Italian style gowns as late as the late 1590s.  I would be surprised if her 
wardrobe did not include multiple gown styles at any given period.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Another nice dress
To: Historical Costume <h-costume@indra.com>
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Actually my question was intended to ask if anyone had
actually seen the colour of the original. It could be
a teal type blue. I was wondering about the quality of
the scanned image.


 --- Sue Clemenger <mooncat@in-tch.com> wrote: > I'd
imagine so.  There are other examples of women
> portrayed with green
> dresses.
> --sue
> 
> Catalina Sanabria Rosado wrote:
> > 
> >
>
http://www.comune.roma.it/museicapitolini/pinacoteca/visita/sala3_savoldo.htm
> > 
> > This dress also appears green on the outer dress.
> Does
> > anyone know if it really is?
> > 
> > =====
> > Aurum peccamenes multifariam texit
> > 
> >
>
________________________________________________________________________
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> Get the FREE Yahoo!
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=====
Aurum peccamenes multifariam texit

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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Sun, 28 Sep 2003 09:51:02 -0700
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Subject: Re: worst book (was [h-cost] Books
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>  I
> still maintain that JQPublic doesn't give a  hoot re the historicity
> of a period costume. Heck, most of them still haven't gotten the
> difference between 1800 and the Eighteenth Century! A visual timeline
> by Peacock or anyone else will be their only connection between the
> costume they have in mind and its appropriateness to the era required.
> I often see people cruising the fabric stores with pattern in hand,
> looking for the duplicate fabric as pictured in the cover.

While it is true that most of them don't have any clue about 
historicity, why lead them astray using something like Peacock (with 
his silouettes that are just wrong)?

Even amongst the older books there are ones which are better such as 
the Cunnington and Cunnington books. They give pictures too, but they 
do it with the lines correct.

> They don't
> do well with spatial concepts. As an interpreter of period fashion, I
> can and do help them toward a more real approach to coming closer to
> the right choices for line, color, pattern/ornamentation, trim, fabric
> choices, and etc.  Every costume cannot, and should not be only
> replicas of 'known models'. Such labors of love have a legitimate
> place in Historical Costume, but not every situation can demand such
> an exactitude. Kathleen 

While it's true that not everything can be done to "exactitude", I 
still think it is leading people astray to point them to really bad 
books (especially ones with the silouettes so inaccurate.) Shoot, 
Gorsline and Braun&Schneider are better than that! 

I call these "survey books." But better still would be to point them 
to things which can also be used as survey books such as the Visual 
History series. They are books with *real* pictures to give them 
ideas and they also have an explanation (not always what I would have 
said, but better than Peacock) for what they are seeing.

I suspect that what we need are more books like Visual History or 
more illustrators like the one used by Cunnington and Cunnington (but 
before CW died since he made sure that her drawings were not "off".)

Sometimes it's a lot harder to correct misconceptions than to try to 
get the appropriate information into their hands in the first place.

This is something that Kass McGann was also trying to get across.

We can cut corners by doing things like simplifying patterns (as in 
Holkeboer vs Hill & Bucknell, or using some of the better Simplicity 
and McCalls patterns instead of the "fantasy" patterns they also do), 
using sewing machines instead of hand stitching everything, using 
manufactured trim instead of hand embroidering, using plastic and 
glass (rather than gold and jewels), etc. But we should at least show 
people things that won't lead them badly astray.

And most of the people we are talking about are people who want to do 
*historic* costume as opposed to fantasy or Halloween costumes. Why 
not give them a good basis to work from?

Kat
<kat@redtrollforge.com>


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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Sun, 28 Sep 2003 09:51:02 -0700
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Subject: Re: [h-cost] Dressing Renaissance Florence
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>  If you haven't gotten this book yet I highly recommend it.  Dressing
> Renaissance Florence; Families, Fortunes, and Fine Clothing, Carole
> Collier Frick,  The Johns Hopkins University Studies in Historical and
> Political Science 120th Series (2002)

Yes, I have it. However, I keep it in my "Italy, social history" 
section rather than in my Italian costuming section. (But then, I 
keep my account books in the history section of their time period, 
rather than with the costuming books too. Except for the Janet Arnold 
books, which I keep together.) (The Italian section right now has a 
couple of dresses hung in front of it so I didn't find it when I 
first looked for it.)

>  I found it fascinating, but I'm no expert.  Ms. Frick could be the
>  Iris
> Brooke of the textile historians and I wouldn't know, but considering
> who is publishing the book, I rather doubt it.

One way to tell is to look at her footnotes and Bibliography. Her are 
full of things like "Two consilia on Widows' Rights" Bulletin of 
Medieval Canon Law, as opposed to citing works like Caltrop, Peacock, 
Brookes and the like.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Bumrolls and farthingales -- together or not?
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Arnold actually devotes a whole chapter to imported styles--including,
IIRC, French, Italian, Spanish, and Polish or Hungarian (having a brain
lapse on the last).
--sue

Catherine Olanich Raymond wrote:
> 
> On Sunday 28 September 2003 09:53 am, Brenda wrote:
> > Drea Leed <drea@nospam> responded to my question:
> [snip]
> 
> > Was Queen Bess (or were her subjects) wearing more styles than just the
> > French gown at that time?
> 
> Someone with access to Queen Elizabeth's Wardrobe Unlocked can answer this
> more authoritatively, but I remember seeing references to her also wearing
> Italian style gowns as late as the late 1590s.  I would be surprised if her
> wardrobe did not include multiple gown styles at any given period.
> 
> --
> Cathy Raymond <cathy@thyrsus.com>
> 
> "Adult life seems to be a cross between a zen koan and a cattle stampede."
> --Ozy and Millie
> _______________________________________________
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Subject: [h-cost] RE: tv ad eye candy
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Ok, I went looking for this ad- I've yet to see it here- and I found this way cool new thing for
the National Gallery of London:
http://www.hp.com/hpinfo/newsroom/hpads/2002/index.html
(scroll down to the box that says "voice of the customer", click on the NGL link)
Now THIS is cool! I can't wait until all the major museums start doing this.

There is also a link to HP's television ads, and I think the one Heather is referring to is also
for the National Gallery. 

Pax, 
::Linda::




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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Linda.
Thanks for the link.
In deed it is fantastic world we are living in. Everything gets better and
better teckniqueally. There is many things that gets better and better.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Sarafina Sinclair" <ladysarafina@att.net>
To: "Historical Costume" <h-costume@indra.com>
References: <20030927231049.K26054-100000@shell.siscom.net>
Subject: Re: [h-cost] Bumrolls and farthingales -- together or not?
Date: Sun, 28 Sep 2003 16:43:21 -0500
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Note: I do not have any evidence to back this up, just my own conjecture.

The bumroll as we wear them today, I believe, is a bastardization of the
french farthingale (giant padded roll worn at the end of the 16th century).
The Spanish farthingale - which is a underskirt/slip stiffened with reeds -
was worn from the beginning of the 1500s well into the 1580s (and probably
later because not everyone changes what they wear just because it becomes
unfashionable). The French farthingale - which is actually a "rolle of
cotton" - becomes fashionable around the 1580s and the silhouette of skirts
changes. Also, the shape of the Spanish farthingale is important because
what most women wear now for hoop skirts does not have the same shape as the
period example in Alcega. In a modern hoop skirt, the grain of the slip is
on the straight and the hoop wire is set so that the hoops can collapse
inside each other. In the Alcega farthingale, each seam is a straight grain,
connected to a bias grain. This forces the farthingale to be flatter in the
front and fuller near the buttocks, creating the look you see is late 16th
century portraits. I think that most recreationists (and I am guilty of this
too, although I have decreased the circumference of my hoops) end up with a
skirt silhouette that is more 1950s than Elizabethan.

What may have happened is that someone in the 1800s may have been looking
back at these two styles of farthingale and assumed that they were worn
together because they have similar names. In the QEWU, Walter Fyshe
(Elizabeth's tailor) talks about padding pleats at the waistline. If we know
that pleats are padded, it is not a huge leap for padded pleats at the waist
to [incorrectly perhaps] become a padded roll at the waist. In fact, it may
be (and of course now I will have to conduct this experiment and post
pictures) that padded pleats and pleats laying over a padded roll look very
similar in the finish product.

Wearing a bumroll under a Tudor or early Elizabethan gown will not give you
the desired look in my opinion. I think the bumroll and farthingale
combination is best for the late 1500s (1580s and on).

------------------------------------------------------------------
Lady Sarafina Sinclair, CW, APF
http://ladysarafina.home.att.net

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Subject: Re: [h-cost] Bumrolls and farthingales -- together or not?
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I attempted to answer this debate when I wrote "Farthingales & 
Bumrolls: An Informal Research Paper" 
(http://www.elizabethanlady.com/farthingales.html) a couple of years 
back.  The paper seriously needs revision, but the information within 
is still accurate (although it's missing crucial things like 
footnotes... Bad Sarah, no chocolate!).

Brenda mentioned to me that my paper confused her, causing her to 
assume that I was arguing that bumrolls didn't exist.  This is true, in 
a way... The bumroll, a'la Winter & Savoy, didn't exist.  The bum rowel 
referenced by Ben Jonson in "The Poetaster" c. 1601 must have existed, 
but it's far too late to be considered suitable for the era that most 
people assume it was used (1530's onward).

Robin Netherton, who I have actually quoted in my article, has taken 
the next step and researched the connection between the French 
farthingale (ie. an overly huge version of the "bumroll") and the 
supposed wheel farthingale.  My little paper touches on some of her 
research where it applies to my overall argument.  And by the way, 
Robin, I still have those critiques you sent me a couple of years ago!  
One of these days I swear I'm going to revise the paper!  Honest!  ;)

The paper also touches on the experimentation with padding pleats, 
pleating methods and so forth.

Hope this helps!

Sarah

On Sunday, September 28, 2003, at 02:43  PM, Sarafina Sinclair wrote:

> Note: I do not have any evidence to back this up, just my own 
> conjecture.
>
> The bumroll as we wear them today, I believe, is a bastardization of 
> the
> french farthingale (giant padded roll worn at the end of the 16th 
> century).
> The Spanish farthingale - which is a underskirt/slip stiffened with 
> reeds -
> was worn from the beginning of the 1500s well into the 1580s (and 
> probably
> later because not everyone changes what they wear just because it 
> becomes
> unfashionable). The French farthingale - which is actually a "rolle of
> cotton" - becomes fashionable around the 1580s and the silhouette of 
> skirts
> changes. Also, the shape of the Spanish farthingale is important 
> because
> what most women wear now for hoop skirts does not have the same shape 
> as the
> period example in Alcega. In a modern hoop skirt, the grain of the 
> slip is
> on the straight and the hoop wire is set so that the hoops can collapse
> inside each other. In the Alcega farthingale, each seam is a straight 
> grain,
> connected to a bias grain. This forces the farthingale to be flatter 
> in the
> front and fuller near the buttocks, creating the look you see is late 
> 16th
> century portraits. I think that most recreationists (and I am guilty 
> of this
> too, although I have decreased the circumference of my hoops) end up 
> with a
> skirt silhouette that is more 1950s than Elizabethan.
>
> What may have happened is that someone in the 1800s may have been 
> looking
> back at these two styles of farthingale and assumed that they were worn
> together because they have similar names. In the QEWU, Walter Fyshe
> (Elizabeth's tailor) talks about padding pleats at the waistline. If 
> we know
> that pleats are padded, it is not a huge leap for padded pleats at the 
> waist
> to [incorrectly perhaps] become a padded roll at the waist. In fact, 
> it may
> be (and of course now I will have to conduct this experiment and post
> pictures) that padded pleats and pleats laying over a padded roll look 
> very
> similar in the finish product.
>
> Wearing a bumroll under a Tudor or early Elizabethan gown will not 
> give you
> the desired look in my opinion. I think the bumroll and farthingale
> combination is best for the late 1500s (1580s and on).
>
> ------------------------------------------------------------------
> Lady Sarafina Sinclair, CW, APF
> http://ladysarafina.home.att.net
>
> _______________________________________________
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>
>
>
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Date: Sun, 28 Sep 2003 19:47:53 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bumrolls and farthingales -- together or not?
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On Sun, 28 Sep 2003, Sarah wrote:

> Robin Netherton, who I have actually quoted in my article, has taken
> the next step and researched the connection between the French
> farthingale (ie. an overly huge version of the "bumroll") and the
> supposed wheel farthingale.  My little paper touches on some of her
> research where it applies to my overall argument.

And I'm now reworking my paper on this to include the additional material
I've picked up over the last few years. I'm hoping I'll be able to publish
this -- finally -- in the new Medieval Clothing & Textiles journal. My
early version of the paper passed peer review and is essentially
publishable, but people (particularly Drea Leed and Lisa Sinervo) have
been kind enough to send me new quotes and cites that I'm just aching to
work in for some added support.

For now, you can read a collection of some of my earlier posts on this
topic on my not-quite-a-webpage at http://www.netherton.net/robin .

> And by the way, Robin, I still have those critiques you sent me a
> couple of years ago!  One of these days I swear I'm going to revise
> the paper!  Honest!  ;)

Tee hee... I know how you feel!

--Robin

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From: "Sablerose" <tayla@sablerose.net>
To: <h-costume@indra.com>
Date: Sun, 28 Sep 2003 21:43:28 -0700
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Subject: [h-cost] Cotehardie lining fabric?
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Greetings to the list,
 
I've been lurking for a bit, but now I find myself in need of your
experience and advice  :>
 
I've been making cotehardies for a couple of years, but I've been doing
it from patterns and without a lining.  My next project is going to be
one cut to fit on a slight variant of Robin Netherton's theories(thank
you for the information on your website!).  I've always used natural
fibers and I have a feel for the correct weight for the top layer, but
I'm at sea on the lining.  
 
I'm ordering some 5.3 oz linen from fabric-stores.com for the outer
layer, but what weight would be best for the lining?  Is the 3.5
sufficient or should I go with the 5.3 for this as well?  What about
color?  Is it best to stick to neutrals? 
 
For that matter, what lining material would you recommend when using
wool for the outer layer? I've got good linen chemises so I'm not
concerned about scratch, but bulk could be an issue.  I've got 11 yards
of Mill End's Carpet wool I'm hoping to work up in to a warm dress this
winter, but I'm trying to decide between silk noil and linen for lining.

 
Thank you in advance for any advice you can offer.
 
Tayla
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Date: Mon, 29 Sep 2003 02:07:03 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cotehardie lining fabric?
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On Sun, 28 Sep 2003, Sablerose wrote:

> I'm ordering some 5.3 oz linen from fabric-stores.com for the outer
> layer, but what weight would be best for the lining?  Is the 3.5
> sufficient or should I go with the 5.3 for this as well?

Well, if it were me ;-) I'd use that linen for the lining and go straight
for wool for the outer layer. If you're worried about heat, a thin worsted
suiting wool will actually be more comfortable than linen (I've tested
this in 100-degree heat). And it will look and wear SO much better. Plus
there's no evidence they used linen for outer layers in these garments,
but much evidence that they used wool, year-round, and occasionally silk
if they could afford it. But finding a suitable silk is very, very hard
today, and wool will still be easier to work with and wear better.

But I do recognize that a lot of people still feel happier with linen for
purely modern reasons, and I'm not going to criticize you if you make that
choice, as long as you're doing it as an intentional compromise.

There's no question that linen makes the perfect lining. As to weight: A
lot depends on how hard a job it's going to do. I'm not good at
translating numerical weights into fabrics, but you want something that's
stronger than chemise linen, and not transparent -- it's going to do most
of the work of holding you up, so it's got to have some strength to it.
Very, very large women will be happier with linen that's almost
canvas-weight. For myself, I go with something about the weight of denim
jeans. Wash the heck out of it, to take care of any shrinkage (minimal
with linen) and to soften it up. Be forewarned that linen is extremely
flexible -- this is great on the body, but can be a royal pain in cutting
out. It will crawl across the room if you turn your back. Mark and pin and
baste more than you would think necessary; you won't regret it.

>  What about color?  Is it best to stick to neutrals?

Evidence suggests that it was typical to use linen undyed, but that
medieval people did dye linen in some circumstances (though not
necessarily for clothing).  Some extant garments have dyed linen linings,
but not from this period that I know of, and it would be very unwise to
consider those particular garments as typical. Manuscript paintings often
show the lining of an *overdress* as a dyed fabric (if it isn't fur), but
this might be silk ... and the overdress lining is expected to show. By
contrast, we rarely see the lining of the underdress fabric. Logic
suggests that few people would waste dyed fabric on a lining that is never
seen. My top choices would be a "natural" color, a white (linen is easy to
bleach) or a light blue or light yellow, as woad and weld were possibly
the most likely dyes to use for linen, and dyeing linen a dark color was,
while possible, a likely waste as it wouldn't hold the color long. Another
plus to having undyed lining: It won't bleed onto your chemise. (I will
never line an underdress in red again, having learned my lesson.)

> For that matter, what lining material would you recommend when using
> wool for the outer layer?

Linen! The few documentary references I've seen that indicate lining
fabric for basic body garments have cited mostly linen, occasionally silk,
and occasionally more wool (the latter being garments for church
dependents, though, and thus meant to be durable but not rich). I've tried
using worsted wool as a lining, and I've found it to be too
springy/stretchy. Linen provides more support on the inside, while the
springiness of the wool does a nice job on the outside of hiding any
tension lines in the fabric.

> I've got good linen chemises so I'm not concerned about scratch, but
> bulk could be an issue.  I've got 11 yards of Mill End's Carpet wool
> I'm hoping to work up in to a warm dress this winter, but I'm trying
> to decide between silk noil and linen for lining.

Definitely linen. Noil is trash; my understanding is that it would not
have been used in this period outside of the silk-producing areas, such as
Italy, where the waste silk would have been sold locally (though I'm
looking forward to learning more from some people who have been working on
silk trade data). I've used noil as a linen substitute for linings, back
when I didn't have a good source of linen, and I can testify that the real
linen works up much, much better ... and it's more accurate to period.
You'll also be more comfortable.

--Robin
now midway through a new fitted dress
eyelets done, body done
tomorrow: sleeves! then 40 hand-done buttonholes & buttons

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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
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Shameless commercial plug:

I just listed some auction catalogs on ebay that might be of interest to people on this list:

- one lot of 2 art catalogs:  British Paintings & Watercolors (lots of 17th century portraits) and American Genre Paintings (lots of 19th century street scenes and depictions of everyday life).
- one lot of 2 jewelry catalogs -- lots of color and black and white shots of vintage jewelry, most Victorian through Art Deco.

There's also a big piece (6.75 yards) of red/blue plaid taffeta, if anyone's thinking about making a Dicken's dress!

If you're interested, search for seller "tweedlebop" or go to:  http://tinyurl.com/p0h9 

- Kendra
http://demode.tweedlebop.com
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Subject: Re: [h-cost] Cotehardie lining fabric?
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>My top choices would be a "natural" color, a white (linen is easy to
bleach) or a light blue or light yellow,

Light colours are possible and fairly easy to dye on linen

> as woad and weld were possibly
the most likely dyes to use for linen, and dyeing linen a dark color was,
while possible, a likely waste as it wouldn't hold the color long

If you have any info suggesting period linens in dark colours I'd be
interested to know, textile technology suggests deep colours were impossible
on linen prior to chemical intervention to open dye sites. There are I'm
sure far more natural methods that were used than we know of, so very
interested if something suggesting this has turned up.

Generally , experimentally, using period mordents of the type know to be
avaliable in England (not so sure of elsewhere) makes it near impossible to
dye a period linen a dark colour, you might get away with modern linens
which have been pretreated for dyeing thus opening up the dye sites.  If you
can get a dark colour into linen it is likely to stay, in my experiance,
stains which give a more tempory colour that dyeing in the chemical sense
tend not to happen. This all has a lot to do with they way linen cells and
fibres are formed which I can go into if anyone cares ;)

Mel



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Subject: Re: [h-cost] Dressing Renaissance Florence
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I'm currently reading this one, along with others - seems I can't read just 
one... anyway I'm finding it informative and a good read.  Quite a change 
from some social histories that are a slog from cover to cover.  It's got 
my recommendation too,  for as far as that goes.

Bridgette - avid reader of footnotes-

>One way to tell is to look at her footnotes and Bibliography. Her are
>full of things like "Two consilia on Widows' Rights" Bulletin of
>Medieval Canon Law, as opposed to citing works like Caltrop, Peacock,
>Brookes and the like.
>
>Kat
><kat@redtrollforge.com>

Mari Stewart
Cornell University


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cotehardie lining fabric?
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I wrote:

> dyeing linen a dark color was, while possible, a likely waste as it
> wouldn't hold the color long

Mel wrote:

> If you have any info suggesting period linens in dark colours I'd be
> interested to know, textile technology suggests deep colours were
> impossible on linen prior to chemical intervention to open dye sites.
> There are I'm sure far more natural methods that were used than we
> know of, so very interested if something suggesting this has turned
> up.

I have none at all, and based on what I do know, I'm inclined to think
that linen was rarely dyed (at least rarely for clothing usage) and not
dyed dark colors. But in the past, when I've dared to suggest that perhaps
linens *could not* be dyed dark, I get beaten about the head and shoulders
with stories of people who say they've successfully dyed linen dark with
natural dyes (just that it doesn't last). I have no clue whether their
methods would be reproducible in period -- I'm not a dyer.

A better way for me to phrase it would have been:
	dyeing linen a dark color, if even possible, would likely have
	been a waste as it wouldn't hold the color long

Or, based on what you said about stains/permanence:
	dyeing linen a permanent dark color likely was not possible,
	and nonfast dark coloring, if possible, would not have been
	worth the effort.

(Whenever I talk about this, I also get barraged by people pointing out
that dyed linen clothing does show up in late 16th c. inventories, but
16th c. Western Europe is very different from late 14th / early 15th c.
Western Europe, and I know nothing about what might be done in the 16th c.
in terms of linen dyeing, deep or light or at all.)

(I have a hunch that dyed linen in light colors might have been used more
frequently in Southern Italy and/or Spain for the "fashion fabric," but
Southern Italy and Spain are significantly different from Western Europe,
fashion-wise and fabric-wise, in this period. And this is a whole 'nother
discussion than we've had on this list several times...)

--Robin


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Oh, hey, did you finally find that blue wool you were looking for, or is
this another one? And what kind of buttons are you doing?
--sue, who wants to make one this fall if she can just find where she
put her mock-up when she moved.....

Robin Netherton wrote:
> 
> now midway through a new fitted dress
> eyelets done, body done
> tomorrow: sleeves! then 40 hand-done buttonholes & buttons
>
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Subject: Re: [h-cost] Cotehardie lining fabric?
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> If you have any info suggesting period linens in dark colours I'd be
> interested to know, textile technology suggests deep colours were impossible
> on linen prior to chemical intervention to open dye sites. There are I'm
> sure far more natural methods that were used than we know of, so very
> interested if something suggesting this has turned up.

The books & recipes I've read suggest that a dark blue was the most common
dark color found on linen, due to woad's ability to color even the most
recalcitrant cellulosic textile.

I have also found recipes for dyeing red, grey, brown, yellow and black
with madder on linen and fustian.  These recipes were in a small book on home
dyeing and spot removal from the late 16th century, "A Profitable book
declaring how to remove spots, etc." The Allerley Matkel, a German
kunstbuchlein from the early 16th century, also has some recipes for
dyeing linen.

Aside from the blue woad and black iron/gall recipes, almost all of them
mention the use of tannin and alum mordanting, a requirement to obtain
bright colors on linen. Personal experimentation has shown that if enough
dyestuff is used, say, a 1-to-1 or 2-to-1 ratio of dyestuff to material
weight, bright and rich reds can be obtained on linen.

I /believe/ the Plictho has some recipes for dyeing red on fustian &
linen as well, though I'm currently at work and can't check.

If you want the text of any linen dyeing recipes for personal
experimentation or documentation, let me know.

Drea


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Subject: Re: [h-cost] Cotehardie lining fabric?
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>I have none at all, and based on what I do know, I'm inclined to think
that linen was rarely dyed (at least rarely for clothing usage) and not
dyed dark colors. But in the past, when I've dared to suggest that perhaps
linens *could not* be dyed dark, I get beaten about the head and shoulders
with stories of people who say they've successfully dyed linen dark with
natural dyes (just that it doesn't last).

I think most people doing this are dyeing modern linen which is generally
treated insuch a way as to allow maximum dye site exposure.

Most natural dyes or most natural dyeing, that is done in modern times is
not the same as period dyeing.

> I have no clue whether their
methods would be reproducible in period -- I'm not a dyer.

I am, I've yet to see any that are reproducable given the facilities we know
of (in England)

>A better way for me to phrase it would have been:
dyeing linen a dark color, if even possible, would likely have
been a waste as it wouldn't hold the color long

Chemically if you get it to dye it shoulkd hold the colour, so I think the
dyes people mention might be stains rather than dyes :)

>(Whenever I talk about this, I also get barraged by people pointing out
that dyed linen clothing does show up in late 16th c. inventories, but
16th c. Western Europe is very different from late 14th / early 15th c.
Western Europe, and I know nothing about what might be done in the 16th c.
in terms of linen dyeing, deep or light or at all.)

By then there is greater access to more chemically pure mordants I believe

>(I have a hunch that dyed linen in light colors might have been used more
frequently in Southern Italy and/or Spain for the "fashion fabric," but
Southern Italy and Spain are significantly different from Western Europe,
fashion-wise and fabric-wise, in this period. And this is a whole 'nother
discussion than we've had on this list several times...)

Yes very possible I think. Also it might be interesting to examine if flax
from hotter climate had a better dye uptake than from colder , just a
possible nothing to base that on ! I'm off to Portugal in a week or so, so I
might get to look at textiles there lots of medieval Moorish sites nearby

Mel



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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Re: [h-cost] Bumrolls and farthingales -- together or not?
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>
> Was Queen Bess (or were her subjects) wearing more styles than just the
> French gown at that time? Just as I have some tops that require a
> racer-back bra, some that require a strapless bra, some that require a
> long-line bra, and some that require one or another shape of "traditional"
> bra, I would imagine that the Great Wardrobe (and the wardrobes of any of
> the better-heeled women of the time) would have the proper underpinnings
> for *each* of the styles Her Grace (or the noblewoman in question) was
> currently wearing, if she was in the habit of wearing various different
> styles of garment.

The french gowns are the only ones that mention rolls sewn into the
pleats.  Some styles of gown, perhaps English or Flemish (with a fitted
bodice cut in one with a flared skirt, or with a narrower profile) would
not have been worn with a bumroll but would have been worn with a
farthingale.

>
> Quite possibly, since the bent-rope farthingale will presumably be not
> nearly as stiff as a metal, reed, or plastic-tubing hooped farthingale.
>

You're right, it is very flexible and lightweight.  Also very strong, and
resistant to cracking or bending. I added a layer of wool and
buckram into the back pleats, which is giving it a really nice arch in the
back. The farthingale is burgundy shot silk taffeta with a lining of
black silk-linen. I have the reed sewn on, and am waiting for an order of
black silk velvet to arrive to cover the bent rope. Very exciting!

One interesting thing I've found is that when I whip-stitch the bent rope
to the outside of the farthingale, the end result looks intriguingly
similar to those narrow bands with diagonal lines across them found in
some woodcuts and pictures of underskirts of the period.

I've been taking pictures of it as I go, and will put it online when I'm finished.

Drea

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Subject: Re: [h-cost] Cotehardie lining fabric?
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>The books & recipes I've read suggest that a dark blue was the most common
dark color found on linen, due to woad's ability to color even the most
recalcitrant cellulosic textile.

That's interesting, the method could have a significant effect.

>Aside from the blue woad and black iron/gall recipes, almost all of them
mention the use of tannin and alum mordanting, a requirement to obtain
bright colors on linen.

Yes Alum is the factor here, what is considered Alum now is not the same as
was in medieval texts as far as most analysts consider, also until your
period, chemically pure Alum of any kind is rare(or unobtainable) in England
(as I keep saying I don't look beyond England in detail) I think the 13th C
was the first recoded incident of chemically pure Alum production and one
assumes that it arrived in England some time after that, it would also I
feel be fair to assume it was in small quantities to start with

>Personal experimentation has shown that if enough
dyestuff is used, say, a 1-to-1 or 2-to-1 ratio of dyestuff to material
weight, bright and rich reds can be obtained on linen.

My experiance tends to showe an increased uptake in colour with greater
quantities, but only if the mordents are correctly increased, modern
mordents are much stronger and more effective. Again modern linen should
also be more receptive to dyeing due to its pre treatment. Have you done any
control with untreated linen ?

Do your recipe books suggest any pretreatments at all ? i realise we are
going outside the initial period but I'm still intrigued !

>If you want the text of any linen dyeing recipes for personal
experimentation or documentation, let me know.

Yes I'd be interested thanks

Mel
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Subject: [h-cost] Re: Cotehardie lining fabric?
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Cennino d'Andrea Cennini's treatise on artistic
techniques, _Il Libro dell'Arte_ has a mention of
dying linen for *children's clothing* using saffron.
He also talks about painting linen with cloth paints
made from brasilwood (and malachite? Or is that just
some phantom memory I'm having?).

Does anyone know for sure when that book was written?
I've seen sources argue for the 14th century, and
others for the 15th. 

-Tasha

=====
http://www.cottesimple.com
An exploration of European clothing and accessories from the late 14th/early 15th centuries.

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cotehardie lining fabric?
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>
> Yes Alum is the factor here, what is considered Alum now is not the same as
> was in medieval texts as far as most analysts consider, also until your
> period, chemically pure Alum of any kind is rare(or unobtainable) in England
> (as I keep saying I don't look beyond England in detail) I think the 13th C
> was the first recoded incident of chemically pure Alum production and one
> assumes that it arrived in England some time after that, it would also I
> feel be fair to assume it was in small quantities to start with
>

"The Practice of Commerce", from the first half of the 14th century, has a
quite comprehensive list of types of alum imported into Italy.
Rock alum of Karahissar,  Choice alum of good alum works, Phocaea alum,
Kutahieh and Ayassoluk alum, Ulubad alum, Cyzican alum, Cord alum,
Diaschilo Sarcocolla alum, Processed alum in scales, Castile alum, Sugar
alum, Vulcano alum and "Alum" from wine lees [tartar]

Italy rather than England, I know, but it really does illustrate how much
variety was to be found in period alum mordants compared to today's
purified stuff...as well as the demand for alum during the time period.
I'd love to get my hands on some "impure" alum samples
from the time to experiment with.

>
> My experiance tends to showe an increased uptake in colour with greater
> quantities, but only if the mordents are correctly increased, modern
> mordents are much stronger and more effective. Again modern linen should
> also be more receptive to dyeing due to its pre treatment. Have you done any
> control with untreated linen ?
>

Yes, I threw a swatch of unmordanted linen in with the batch--same hue,
but a much lighter shade of pink.

> Do your recipe books suggest any pretreatments at all ? i realise we are
> going outside the initial period but I'm still intrigued !
>

For linen dyes, all recipes I have seen involve a) an alum + tannin
premordant or b) a strongly alkaline/lye solution used in conjunction with
the dyebath. I haven't experiment with the lye-based "mordanting" yet,
but presumably it somehow helps to lock color into linen & fustian.

Here are the dye  recipes I have (almost all 16th c.) that mention linen.
Red is by far the most popular color mentioned. Enjoy!

-----------------------------------------------------
How to dye linnen or thread redde.
As when ye will dye any Linnen or thread redde, yee shall take one pound
of samfleure, and let it soke halfe a day and a night in water milke
warme, then put it into a thicke bagge or sacke, and therein wash and
rince it in the riuer till the bagge be therewith red, then wring the
water well forth, and so take out your samfleure, and spread it uppon a
faire bord or Table and make (as it were) a little thinne bedde thereof,
then strew thereon of white ashes, in making beddes of your Samfleure, and
when ye haue strewed them with ashes, ye shall take to one pound of
Samfleure, a quarter of a pound of ashes, which ashes must be burnt and
made of the lyes of white Wine, and it must be wel chaft betwixt your
handes, the one against the other, then make thereof a small heape, and so
let it rest the space of fiue houres. Then shal yee rubbe it againe til it
ware warme, then haue readie a faire bason, and sette it under your
stuffe, that it may runne therein, and also wring out the iuyce thereof
into the sayd bason. Then cast therein a pinte of wine vinegar that is
verie good, then yee may put therein a pounde of yarne, and it shal doe
wel. But to dye your Linnen cloth, ye shall put it in before your yarne or
fustian. Then lay it therein a day and a night, then take forth your
linnen or yarne, and then put therein a gallon of ashes of the Ashe tree,
and thereunto your linnen, yarne or fustian, and so let it lye therein
halfe an houre, then take it out and wring it as well as you can, then by
and by hang it in the sunne, then take that water that ye soked first your
Samfleure in, and strayne it (as aforesayd) into the bason unto the other
colour, then put therein a glasse full of Vinegar, and then you may put
therein your yarne, fustian, or linnen cloth, and doe thereunto as is
aforesayd.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW Cap. XVI. In the original, "milk warm" was "as warm as water
is in the summer".

Another way to dye Linnen in a faire rose
To dye a faire redde Rose colour of Linnen, yee shall take to euerie iiii
yards and a halfe of Linnen, half a li. of good gall nots, and seeth them
in faire water all whole, the space of 2. Houres. Then take it from the
fire, & poure that water into another vessell or fatte, then put your
linnen into the sayd water, and let it soke therein the space of foure
houres, then take it forth and wring the licour well forth. Then take
faire water in a kettle, and set it on the fire, and put therein a quarter
of a pound of Allom, and when it is readie to seeth, take it from the
fire, and put your cloth therein as soone as ye haue wrung and strayned
out your gals aforesayde, but lette it drie a night before first, and then
turne it well therein the space of a quarter of an houre. So take it forth
and wring it well, & then seeth two ounces of Brasill in faire water, the
space of two houres, then take that from the fire, and hange another
kettle ouer the fire, and put therein gruys water, so warme it a little,
and cast therin two li. of grening wede, then put your linnen cloth
therein, and looke that no Allom haue beene in that water. Then let it lye
therin halfe an houre, and stirre it wel with a staffe and then take out
therof the said linnen, ye may then cast away the same liquor, and wash
your kettle cleane, and put therein of the clearest brasill water, and let
it wel colour therein. Then take your Linnen and wash it wel in faire
water, then take of faire water in a panne, with a little Allom and so
seeth them both together: and therein seeth your linnen cloth fiue or sixe
Pater noster whiles. Then take out the sayd cloth and wring it well, and
after that put the sayd cloth into the kettle of brasill water and therin
ye shal turne and winde it wel, the space of a quarter of an houre, then
take it forth and wring it a little, and in like wise you shall do with
the dying of fustian, but unto your fustian you must haue two parts more
of Verdigreace and Allom, and that your fustian must lye therin halfe a
day and a night, then wring it forth, and let it drie, then after yee may
rayse his cotton with cardes meete for that purpose: if ye will haue your
Linnen more fairer, cast into the kettle with your said brasill, some lye
made of white Lime, then put your cloth therein, then turne and wind it
therein the space of foure pater nosters, and then take it forth thereof,
and wring it well, and so hange it up to drie.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW cap. XVII.

To make a good black dye.
Take a pound of galles, and ye fourth part of coperas, and seeth these
together, then put the cloth therein, and stirre it wel about, then hang
it to drie, then prepare your dye as thus, take a good great fat, and put
therein a fourth part of Rye meale, and halfe so much of swarfe (of the
grindstone), and so much of Elder barke, and in like of old yron, & the
scales of yron, as it comes off by the hammer heating, stirre this all wel
together, and so let it stand three days or euer ye put your cloth
therein, and at each time let your linnen drie afore ye put it therein.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: In the original Recipe (capit. VI of TBvW), the portions of rye,
elder bark, old iron, swarfe & iron scales were all equal.

To make a redde carnation.
To make a redde carnation die, ye must die your white cloth, linnen or
woollen, or silke yarne, to do it well, yee shall gall and allom it well.
Ye must take an earbe called Foli in dutch, that shall ye finde by ditches
& bankes, take a pound thereof that is drie, this is in tufts, and it is
hote like wee-ashes and carnation in sight, therewith men doe make a redde
carnation woollen cloth, with the greene or white, or of silke, and if any
carnation haue lost his colour, or if any carnation haue lost his die,
with that ye shall die it againe, that it shall not loose his colour, and
to four elles of cloth, ye shall take a pound gruis, or of that hearbe
afore named, which ye shal beate to powder, Then shall yee take lye made
of Oke ashes, mixe a part therewith, and another part of cleere pisse
cleere and old, of each like much. If ye will haue a light die, take pisse
new made, and of the foresayd lye in like much, & therewith ye shall die,
with the foresayd poulder put therein, and as it is sod, put in that which
yee would die, and seeth it two hours long, and then let it drie.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW chap. IX. Foli=folium, or Turnsole.

To dye with brasill as red as a Rose.
Take sixe elles of linnen, and thereto halfe a pound of beaten galles of
the best: then put it in faire water, and let it seeth about two houres,
but the galles should rather be all whole, and when they are sodde, set it
from the fire, and put it gently in another Kettle or fatte, and then put
your linnen therein, as hote as you may handle it, and stirre it therein
foure houres long, that done, then wring it well foorth, and hang it to
drie. Then take four ounces of Allom, and seeth it with water, and when it
is sod, take it from the fire, and put your galled cloth therein, as hote
as ye may suffer it, the space of a quarter of an houre, then take your
branne water and put thereof in a Kettle, and as it is warme, put therin
two pound of grening weede, let it be the first time soke well therein,
and let it be well and hote, but not seeth, and then put your cloth
therein, and stir and handle it well at the first with your handes, nye
half an houre with a staffe tost well all about, and wel handled in the
die, and then ye shall take your cloth, and spoonge it in water and wash
it cleane. Then take a little Allom, and seeth it with water, then shall
ye haue two ounces of brasill sodde in light water, and put your cloth
therein, fiue pater nosters long. Then if it be not drie ynough, then weat
it as before is sayd.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: In the original Dutch Recipe (TBvW chap. XV), "cloth" was specified
instead of "linen". "light water" was "slecht water", or dirty water.
(This could be urine.) Grening weed is madder.

To dye faire linnen with brasill.
Ye shall take faire water, and heate it ouer the fire, then shall ye haue
the powder of galles, and put thereof into the Kettle ouer the fire, and
so let it seeth a quarter of an hower: then take it from the fire, and
take another vessell and put therein so much cold water, as of the other
in the kettle, and put that hote in the Kettle thereunto. Then put your
cloth therein, and stirre it well up and downe therein, and as ye haue
done so a while, then let it lye therein foure houres long in that gall
water, then take your kettle againe with other faire water, and set it
ouer the fire and make it hote, then put allom therein to the Kettle ouer
the fire, and as that water is hot, and the allom melted, yee must then
haue another vessell or fatte with cold water, as much as of the other
hote water, and put the Allom water therein, then put your cloth therein,
and stirre it as aforesayd, and so let it then lye therein foure houres
long, so done, then yee shall wring it out and hange it to drie, or to
drie in the ayre, but let it not bee too drie. Then shall ye take your
brasill made in powder, and put it in the panne, and so let it seeth
therein, the quarter of an houre, and before that brasill doe seeth, ye
shall take wheat flower, & put therein, mixe it all together well in a
dish, and put it into the kettle before it doe seeth: thus done, let it
seeth, and as it hath sod, then take forth so much of the brasil, as ye
may put in your cloth, and stirre it well about, as is afore declared,
thus done, let your cloth rest therein a good while, then wring it forth,
and hang it to dry, & as it is dry, ye shall take that liquor that it hath
layne in, and put that away, then take againe so much brasill as before,
and put that cloth therein againe, and then hange it to drie, and as it is
drie, then put it in another licor, and hang it againe to drie, and then
it is full done. And to know the quantitie of weight, which is, to euerie
elle of linnen cloth, ye shall take a loot of gall powder so called in
Dutch, & as much of allom, and to each elle of cloth one ounce of brasill.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW XX. "wheat flower" was "tarwebloemen", dutch for "wheat flour"

A faire linnen cloth to dye blewe.
For to dye a faire blew, ye shal take a pan of faire water, and hang it
ouer the fire, & let it be seething hot, then must ye haue a vessell of
halfe an Ame, so cald in dutch, or thereabout, & as your licor is hot, put
thereto 3 pound of wheat bran, & 3 pound of ashes, and a pound of greening
weede, stir all this in the pan, & let it seeth 3 or 4 paternosters long,
then take of floray under halfe a pound, & soke it in faire water, & let
it there rest a quarter of an houre couered, then take your clean vessel
or Ame, & therein put your soked floray, then take the hot licor ouer the
fire, but let it coole ere ye put it into the fatte, then put it in and
stirre it well, & so couer it wel and close, and let it so rest sixe
houres long, then uncouer it & stirre it well about a good while, then
couer it close againe, & let it rest other vi houres, then uncouer it &
stir it as before, & so stop it again, then uncouer it within 2 or 3
houres, and looke if the die begin to come, or begin to wax greene
[Ed.note: in original, phrase here added: "Or if the scum from the bloom
begins to appear"], if they do not, let it rest longer and stoppe it
close, if ye see it be come, put therein some of your cloth that ye would
die, and turne it well therein, then wring it out, and let it rest 2. or
3. houres: then put in again your cloth, & use it as aforesayd, and so
stop it wel again, and let it rest so 2 or 3 houres, till ye shall see the
dye begin to come, and the flower to lye aboue, & to euerie going that ye
goe thereto, see if the colour be green ynough, or wax green, and when ye
shall see it so, ye shal scom off the flower with a dish, and then put
your cloth again therein, stirre it wel, and wring it forth, then stop it
again wel, and thus ye must color three or four times a day. Then must ye
take the dye in the vessell, and hange it ouer the fire againe, and there
let it bee hot, and put therin two pound and a halfe of ashes. Then put it
in the fatte, and so let it rest, but stoppe it well and close, so let it
rest a night, but stirre it once in the night with a staffe, & see in the
morning if the die be come, as aforesayd, & so put in your cloth againe,
but let it not lye therein too long, that it coole not the die, and as yee
haue thus dyed it foure times. Then shall ye make it hot agayne ouer the
fire, putting therein two pound of pot ashes, & so let it rest all a
night, & stirre it once in the night as aforesaid, and stoppe it close,
and when yee goe thereto, see if the dye be come, and if it be come, yee
may dye, as before, what yee thinke good, and when your colour waxeth a
faire green, then is your die good and ripe, and the flowers will lye
faire aboue, but as it beginnes to waxe yealow, then is it too ripe: and
then must yee put in more cloth.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW Chap. XXII The original specifies 3.5 pounds of bran meal.

How to dye a faire Linnen with brasill.
Yee shall take so much linnen as ye will, and to euery elle of linnen,
take two ounces of gall nuts, or xii nuts: these nuts yee shall breake in
twoo or three peeces, then put them into a kettle with water, and let them
seeth together, and when they haue sod a quarter of an houre or lesse,
then take it from off the fire, and take your cloth foorth thereof, and
let it a little soake by, but let it not drie. As ye haue thus sod it, ye
shall take another kettle with faire water, and put it ouer the fire and
make it seething hote, then shall ye to euery elle of cloth, take twoo
ounces of Allom which ye shall put in the said water, & as it is melted,
yee shall take the foresaid cloth and put it into the said kettle to the
Allom and let them seeth together a quarter of an houre, then take it
forth of the kettle and wring it a little, then hang it to drie a little,
but not too much. Then yee must haue your sod brasill as thus: ye shall
take lye made of wood ashes, but see it be not too strong, and thereof so
much in your panne as wil make your cloth weat, then put your brasill into
the pan with the lye, and so let it seeth a quarter of an houre, then set
it from the fire, and haue ready an earthen panne, and by and by put your
liquor and brasill therein, then shall yee put your foresaid cloth
therein, and stirre it & turne it well therin, but see that it be not too
dry of the said Allom that it hath been sod with. Also to foure gallons of
lye, ye shall put lesse then halfe a pound of brasill poulder small
beaten.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: Original is TBvW chap. Xxiii

A red to dye with Crampmede.
Take a pound of Crampmede, to three elles of linnen, and take a faire pot
with water, and set it by the fire till it be readie to seeth, and put
therein two ounces of gals, and let them so seeth together, and then put
your linnen therein, and take it sometimes out and in, and at each time
wring it well out. Then take a faire pot with faire water, and make it
seething hot, then put therein an ounce of Allom, and so let it seeth
well, then put your cloth in as aforesayd. Then take another pot of water,
and let it seeth therein till it be red, then take that cloth out, and
clense it all about with a cloth. If ye will haue it more darker, then
must ye haue a lye of unquenched chalke, with a like dye: men with woad
ashes do make a red dye or colour, without unquenched lime, in hauing woad
ashes in stead of unquenched lime.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: The original recipe specifies cloth ("lake") and not linen. TBvW
chap. XXVII Crampmede="Crappe van Meede"=madder.

To dye blacke Veluet or Linnen.
Take of gals and coperas, & seeth them together, and put your linnen
therein, if it be gray silke, then take of Elder barks, and old yron, and
put all in a herring barrell or vessell. Then take gruis or swarte, this
shall be a third dele [part] of the fat, the other two parts shalbe faire
water, so let it stand three weekes long, & so stir it often well about,
and put your gray silke therein, and as this is done, so shall ye hang it
to drie, and so put it in againe, so often till that it be blacke ynough.
In stead of galles ye may take barkes of Oke, and Shomakers blacke.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW chap. XXVIII.

To make gray flore.
Take flore and lay it to soke 24. Houres, then wring it out thorow a
cloth, then take lye of wine ashes, and spred it two houres long on a
faire table, then take the sayd lye and put it in three vessels, & take
the flore and put it into one of the vessels. Then put it well forth, and
then put that Flore in the least vessell, then so in the middest, and in
the first, but ere ye put the linnen therein, put in vineger and wring it
out.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW chap. XXIX

To make a red with brasill.
Take your Linnen to one pound, take a fourth part of Allom, but first
seeth Allom, then lay your linnen therein the space of two houres, then
take of beaten galles, and put water thereto, then lay your linnen
therein, and put in a quarter of a pound of brasill, and an ounce of gumme
of Arabie. Then let it seeth a fourth part in, and then put in your
Linnen. If you will haue it a redde, then put in no galles.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW XXXV. In the original, "cloth" is specified instead of
"linnen".]

To make a faire sanguine dye.
Take upon each elle of linnen, sixe galles beaten into powder, and then
take three gallons of water put into a tubbe, and put the powder of the
galles thereto, and stir them well together, then lay your linnen therein,
and turne and wend it wel. Then take and wring it dry out, then let it lye
therin againe two houres long, but at each houre ye must wring it, as
before, and lay it therin again in the tubbe, and as it hath layne two
houres, & so wrung out, then take an ounce of Allom, of the best, and
three gallons of water in a Kettle, & make it well and hot readie to
seeth, till all be wel molten, then set it from the fire, and put your
linnen therin, & do it as ye haue done before againe two houres long, then
after that take a pan, and put therein two gallons of water, and warme
that like the other, then take three ounces of brasil, and cast it therin,
againe, let it seeth a quarter of an houre, then take a good quart of
water, and cast it therein seething, and take a quart of that die, and lay
your linnen therein sixe or vii paternosters long, so that yr dye be
drunke all in the said cloth, then wring it forth and handle it well, then
lay the cloth againe, in that dye, tosse it, and turne it and wend it well
therein, and let it lye therein so long as aforesayd, and so wring it out,
then take the third colour and lay it therein, and let it lye therein a
quarter of an houre, and so it will be well.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW Chap. L : the "three ounces" of brasil were "drie loot", or
"three loot" in the original recipe

To colour or dye a blacke.
Take a vessell, and put in cold gall water, then lay your Fustian therein,
stirre it and handle it well therein, and then put it into the blacke die,
and tosse it and handle it well therein also, and then againe in the gall
water, and againe in the die, doe thus so often till it bee dyed ynough.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW Chap. XXXVIII

To dye a faire yealow colour as Gold.
Lay first your linnen in Allom water foure houres long, then take one part
of chalke, and two partes of wood ashes, then make a lye thereof, and
seeth your dye therewith, also the best lye to die with is, to take 2
parts of wood ashes, and one part of chalke, worke and use it as yee shall
perceiue best.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW chap. XXXiX. The original word used for linen was "laken" or
"cloth", with wool broadcloth being meant

To dye Fustian gray.
Take of hay ashes, and vine ashes by themselues, and make a lye thereof,
then put your fustian there in the hay lye, and then in the other lye, to
it thus so long till yee see it all coloured ynough, with these and such
like yee may dye linnen gray, but ye must put thereto a little more of
calles.
from A Profitable Boke of Dye Receipts , c. 1586
Notes:

To dye Fustian grey.
First lay your fustian to soke the space of 3. Houres, then to viii. Elles
of fustian, take two ounces of broken gals, and put them into warme water,
then put your gall water into another fat, with eight quarts of fresh
water, then lay your fustian therein, and stir it well with your hands
therin, tosse it wel, and wring it forth well, & lay it therein again one
houre & so wring it wel forth, then put it into the black die, and lay it
therein another houre, so wring it well, then scoure it in faire riuer
water, and then put it into your gal water, and then the black die, then
scoure it and drie it, so burle it and dresse it up, and so it is done.
from A Profitable Boke of Dye Receipts , c. 1586
Notes: TBvW Chap. XL

To dye threede or linnen cloth blewe.
Take the berries of Ebulus, very rype, and well dryed in the Sunne, laye
them in Vineger, xii houres, then rubbe them with your hande, and strayne
them throwe a linnen cloth, putting to them some Verdet bruised, and Alome
alone. Yf the blewe be to be cleare put more Verdet to it, and lay your
threede or linnen cloth in it.
from The Secretes of Alexis of Piedmont , c. 1568
Notes:

An other waye to dye blewe.
Take three partes of ashes of Lees burned, one part of unslect lyme, and
make thereof Lye, let it clarifie and then strayne it thorowe a course
linnen clothe. Take xv pots of the same water, and poure it upon a pounde
of Flaunders blewe, such as is taken of the dyers caudrons, and mingle
them well togeather with a sticke. Then sette it on the fyre untill you
can scante endure your hande in it. But before you doe dye any thing, you
must haue youre linnen cloth boyled in Alome and dryed agayne, and
plundged afterwarde in the hote Lye twice or thrice, according as you wyll
haue the coloure darke or cleare. The substance must be hoate before you
occupye yt.
from The Secretes of Alexis of Piedmont , c. 1568
Notes:

An other way [to dye redde].
Take unslect lyme, and put a little water upon it, and let it stande a
nyght, and afterwarde strayne the clearest thorowe a linnen cloth, and for
euery pinte of water put in halfe an unce of scraped brassell. Let it
seeth unto the halfe, and put to it halfe an unce of Alome, sette it upon
woode, and let it heate, but not seeth. When you wyll, haue that you wyll
die, readie prepared, in such sorte as here foloweth. Take Lees of redde
wine, and put it in a bagge that all the wine dreane out, and the Lees
waxe drye. Make therof balles as bigge as a hennes Egge drying them in the
Sunne, and burning them after into ashes, and of this ashes make a strong
Lye, and make it very hote, and then weate in it the thing that you wyll
dye, drying it afterwarde, and then dye it with the foresayde colour.
from The Secretes of Alexis of Piedmont , c. 1568
Notes:


To dye yarn and linen cloth blue
Take the black dwarf elder berries, dry them in the sun and soak them in
vinegar for 12 hours. Squeeze them with your hands, strain them and press
it through a cloth. Put ground verdegris and alum therein. If the color
should turn out light blue then add more verdegris. Lay the yarn or the
linen cloth therein. Or take blue bilberries, pour water thereon, let it
soak for three or four days, put alum therein and boil it well together.
from Allerley Matkel , c. 1532
Notes: These dyes aren't colorfast and will tend to fade to grey, despite
the alum used as a mordant. Linen is more susceptible to this than wool.
The verdigris may have been used to combat this tendency.

To dye yarn and linen cloth brown
Take a pound of wild saffron and put it in a bag. Lay it a day and a night
in flowing water; thereafter wash it until no more yellow color comes from
it. Take then a pot and lay a layer of saffron therein which is not too
thick. Strew thereon finely ground weyd ashes then again a layer of
saffron and again weyd ashes, etc. Cover or stop it up well, and let it
stand for seven hours. Take then eight mass of water, four mass vinegar
and put the saffron and ashes in a pointed lye sack (long, pointed sack?).
Let the warm water and vinegar run through 15 times, and this will be the
last dye. Again take the same amount of water and vinegar, let it run
through as before, and this is the second dye. Do it a third time, and
this will be the first dye. Take this dye and warm it, and let the yarn
lie therein for a night. Hang it up once its wrung out. Do the same with
the second dye, and in the third let it lie for seven hours.
from Allerley Matkel , c. 1532
Notes: This is clearly a recipe for creating a red-brown dye from
safflower. Virtually identical recipes for extracting red from Safflower
can be found in the Profitable Dye Book, Secretes of Alexis, T Bouck va
Wondre and the Household Cyclopedia. All mention suspending the dye
material in water until the soluble yellow dye has been removed, and then
precipitating the red dye with an alkaline solution of ashes. The
triple-dying technique is one seen in other 16th century books for dyeing
wool and especially linen with non-colorfast or non-substantive dyestuffs.




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From h-costume-bounces@indra.com  Mon Sep 29 10:52:43 2003
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Date: Mon, 29 Sep 2003 07:50:32 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Cotehardie lining fabric?
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At 8:23 AM +0100 9/29/03, Melanie Wilson wrote:
>  >My top choices would be a "natural" color, a white (linen is easy to
>bleach) or a light blue or light yellow,
>
>Light colours are possible and fairly easy to dye on linen
>
>>  as woad and weld were possibly
>the most likely dyes to use for linen, and dyeing linen a dark color was,
>while possible, a likely waste as it wouldn't hold the color long
>
>If you have any info suggesting period linens in dark colours I'd be
>interested to know, textile technology suggests deep colours were impossible
>on linen prior to chemical intervention to open dye sites. There are I'm
>sure far more natural methods that were used than we know of, so very
>interested if something suggesting this has turned up.

The linen lining of the 15th c. "satin coat of Charles the Bold" is a 
very dark gray or even something reasonably called black.  That's the 
darkest item I've seen from the period.  The linen lining (possibly 
an interlining -- I'd have to check the article again) of the 
vestments of the Order of the Golden Fleece is a rather pastel 
pinky-orange.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Mon, 29 Sep 2003 11:49:00 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Cotehardie lining fabric?
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On Mon, 29 Sep 2003, Tasha McGann wrote:

> Cennino d'Andrea Cennini's treatise on artistic techniques, _Il Libro
> dell'Arte_ has a mention of dying linen for *children's clothing*
> using saffron. 

Is saffron the sort of color that will fade with time? Children's clothes,
one might argue, would not be meant to last a very long time, so a
fugitive color would be acceptable.

> He also talks about painting linen with cloth paints made from
> brasilwood (and malachite? Or is that just some phantom memory I'm
> having?).

Drea could tell you more, but IIRC there are quite a number of references
to painted fabric for various purposes -- hangings/decor, costumes,
clerical vestments, etc. I don't think painting dress fabric was done
routinely for "real" clothing. Though if anyone has evidence to the
contrary, please let me know.

--Robin

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Cotehardie lining fabric?
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I have found a couple of 15th c. german recipes for fabric paint that
involve brazilwood & verdigris, to obtain red and green pigments.
They were in the book "Ein Buch von Alten Farben", by Ernst Emil Ploss.
In German, but some really great info on medieval fabric painting,
stamping and dyeing.

Drea

On Mon, 29 Sep 2003, Robin Netherton wrote:

>
> On Mon, 29 Sep 2003, Tasha McGann wrote:
>
> > Cennino d'Andrea Cennini's treatise on artistic techniques, _Il Libro
> > dell'Arte_ has a mention of dying linen for *children's clothing*
> > using saffron.
>
> Is saffron the sort of color that will fade with time? Children's clothes,
> one might argue, would not be meant to last a very long time, so a
> fugitive color would be acceptable.
>
> > He also talks about painting linen with cloth paints made from
> > brasilwood (and malachite? Or is that just some phantom memory I'm
> > having?).
>
> Drea could tell you more, but IIRC there are quite a number of references
> to painted fabric for various purposes -- hangings/decor, costumes,
> clerical vestments, etc. I don't think painting dress fabric was done
> routinely for "real" clothing. Though if anyone has evidence to the
> contrary, please let me know.
>
> --Robin
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Cotehardie lining fabric?
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>The linen lining of the 15th c. "satin coat of Charles the Bold" is a 
very dark gray or even something reasonably called black.  That's the 
darkest item I've seen from the period.  

Have you a ref for the article please ?

Mel

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>The Practice of Commerce", from the first half of the 14th century, has a
quite comprehensive list of types of alum imported into Italy.
Rock alum of Karahissar,  Choice alum of good alum works, Phocaea alum,
Kutahieh and Ayassoluk alum, Ulubad alum, Cyzican alum, Cord alum,
Diaschilo Sarcocolla alum, Processed alum in scales, Castile alum, Sugar
alum, Vulcano alum and "Alum" from wine lees [tartar]

Yes that is pretty much the time scale I have, things tends to the trickle
to the frozen north ;)

>Italy rather than England, I know, but it really does illustrate how much
variety was to be found in period alum mordants compared to today's
purified stuff...as well as the demand for alum during the time period.
I'd love to get my hands on some "impure" alum samples
from the time to experiment with.

You and me both, if only we knew EXACTLY what they were :) I think a lot of
the recieved wisdom is over simplified. The suggestion of colours specific
to areas (eg Lincoln green) suggests local input to dyestuffs, whether by
soil contribltion to the dyestuff water type or some local modernt or
modifer. It is hard to know....

>Yes, I threw a swatch of unmordanted linen in with the batch--same hue,
but a much lighter shade of pink.

Sorry I really mean virgin linen which hadn't been commercially treated.  So
you experiments were pre mordanted totally ?

>For linen dyes, all recipes I have seen involve a) an alum + tannin
premordant or b) a strongly alkaline/lye solution used in conjunction with
the dyebath. I haven't experiment with the lye-based "mordanting" yet,
but presumably it somehow helps to lock color into linen & fustian.

Alkaline should help open up the dye sites quite a bit and allow the dye to
bond

>Here are the dye  recipes I have (almost all 16th c.) that mention linen.


Thanks, although I should be thinking bones not textiles, I always get
pulled into dyeing :) So little time so much to interest me !

Mel
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Subject: Re: [h-cost] Cotehardie lining fabric?
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>
> You and me both, if only we knew EXACTLY what they were :) I think a lot of
> the recieved wisdom is over simplified. The suggestion of colours specific
> to areas (eg Lincoln green) suggests local input to dyestuffs, whether by
> soil contribltion to the dyestuff water type or some local modernt or
> modifer. It is hard to know....

Do you know anyone who is researching medieval chemicals of this sort?
>
> Sorry I really mean virgin linen which hadn't been commercially treated.  So
> you experiments were pre mordanted totally ?

Aside from the test unmordanted wool & linen strips.  Where would one get
Linen that hasn't been "commercially" treated?  I usually wash mine on hot
with some Orvus or castile soap, then dry it, and use that to dye. I
haven't had any strange colorations occur.

> Thanks, although I should be thinking bones not textiles, I always get
> pulled into dyeing :) So little time so much to interest me !
>

Well, I have some recipes for dyeing bones...would that do? ;)


Drea


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I buy rolls of paper from art stores. You can buy rolls of paper between 2 and 5 feet wide  and they're something like 100 feet on the roll ('fraid I don't have it with me to check). Expect to pay between 15 and 25$ depending on the weight of paper you're looking for. 

To enlarge patterns I cheat if I can -- if it's something small like a bodice pattern out of Arnold I will simply blow it up on a copier at Kinko's and then tape the pages together. If it's a large pattern then the copier is too much work -- I photo copy the page (without changing it's size) and then draw a very fine grid on it. Then I draw a much larger replica of the grid on my roll of paper. I then free-hand the shapes in each box of the small copy into the big squares on my roll of paper. If the grid on your photo copy is small enough then it's not too hard to free-hand everything. 

I expect having a projector would be much easier, but I don't have access to one.
	-sunny

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: enlarging patterns from books?
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     Another trick - scan the pattern from the book, blow up the size, then 
print it out on several pieces of paper.  Fit & tape them together.  It's a bit 
tricky dealing with printer margins, etc, but the end result is good without 
all the hand-gridding & retracing work.

     The paper on rolls is helpful once you finish the alterations & re-draw 
the pattern at the right size. :-)

     -Carol

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Subject: Re: [h-cost] Cotehardie lining fabric?
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>Do you know anyone who is researching medieval chemicals of this sort?

No I don't, I get the Historical dyes (forget the exact name) journal and
there is little mention of such things although I would have thought there
are several PhDs in it, maybe in other European countries published in other
languages..
>
>Where would one get
Linen that hasn't been "commercially" treated?

I've tended to use flax for spinning and bleached it myself, as test
untreated stuff, I've noticed less dye uptake in this than in bought fabric.

Also British and US fabrics used to be very differently prepared (I'm going
back nearly 15 years when I was working commercially in cellulosics in both
the UK & US so this could well be out of date) so your results might be
different because of the source of fabric as well. Lots of factors to
consider really, sorry I'm complicating things :((

>Well, I have some recipes for dyeing bones...would that do? ;)

Not really, female pelves I'm hoping to look at !! Don't ask costume is a
much healthier research topic ;)

Mel


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Date: Mon, 29 Sep 2003 22:57:40 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
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 <Pine.LNX.4.10.10309291146520.1377-100000@shell.nightowl.net>
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Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Mon, 29 Sep 2003, Tasha McGann wrote:
>
>> Cennino d'Andrea Cennini's treatise on artistic techniques, _Il Libro
>> dell'Arte_ has a mention of dying linen for *children's clothing*
>> using saffron.
>
>Is saffron the sort of color that will fade with time? Children's clothes,
>one might argue, would not be meant to last a very long time, so a
>fugitive color would be acceptable.
>
It seems strange that they would dye separate cloth specifically to make 
clothes not meant to last long.  Wouldn't they more likely cut down old 
adult clothes, or use offcuts not big enough to use for adults?  Or I 
wonder if they mean baby clothes or swaddling, and there's another issue 
here we're missing?

Jean

>> He also talks about painting linen with cloth paints made from
>> brasilwood (and malachite? Or is that just some phantom memory I'm
>> having?).
>
>Drea could tell you more, but IIRC there are quite a number of references
>to painted fabric for various purposes -- hangings/decor, costumes,
>clerical vestments, etc. I don't think painting dress fabric was done
>routinely for "real" clothing. Though if anyone has evidence to the
>contrary, please let me know.
>
>--Robin
>
>_______________________________________________
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-- 
Jean Waddie
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Subject: Re: [h-cost] RE: enlarging patterns from books?
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In a message dated 9/29/2003 3:25:18 PM Eastern Daylight Time, 
sbuchler@silicongenetics.com writes:

> I photo copy the page (without changing it's size) and then draw a very 
> fine grid on it.

Y'know...you could get graph paper with the grid already on it [usually in 
blue] and run it through the copier....copying the pattern on the already graded 
paper. Graph paper is usually 1/8" squares. If you can get the pattern to 
that scale, that would be helpful.

To rescale the pattern you must know what the new size needs to be. If the CB 
neck to floor is say 50" then in 1/8th scale it needs to be multiplied by 
.125. [on the calculator:1 divided by [/] 8 = .125] so 50 x  .125 = 6.25. So that 
CB measurement on the little pattern in the book should be six and a quarter 
inches.

So what if it isn't. What if it's like 5.75. You'll need to blow it up a 
little on the Xerox. Here's what to remember: The NEW SIZE / OLD SIZE. No matter 
the numbers: The NEW SIZE / OLD SIZE...then move the decimal over 2 places to 
the right. This works every time to give you the percentage the image needs to 
be blown up or down. 

OK, so you've already given up 'cause it's too complicated. No it isn't. just 
remember:The NEW SIZE / OLD SIZE....decimal over 2 to the right. Period. 

Let's do it.

The new size needs to be 6.25
The old size is 5.75
On the calculator new size / old size
6.25 / 5.75 = 1.0869565217391304347826086956522  

WOW! Move the decimal over 2 [108] and forget the rest...noting the 3rd 
number after you move the decimal. If it's more than 5 you may want to round the 
number up.

So in our example you need to blow up the image 108% [maybe 109%]

This works every time. I swear. Shall we do one that needs to be smaller?

Let's say the image in the book has a CB measurement of 9.5" but still needs 
to be 6.25" to fit in the 1/8" scale.

New size into old size....
6.25 / 9.50 = 0.65789473684210526315789473684211

move the decimal [65] but note the following 7 so round up.

You need to Xerox it at 66%

Hello? Is anybody still listening????
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Date: Mon, 29 Sep 2003 16:12:09 -0700
Subject: Re: [h-cost] RE: enlarging patterns from books?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Brilliant, Albert! I knew there was an easy way to figure it; I just didn't
know the easy way. It went right over my head until you gave your example
and it was really clear.  Thank you!

LynnD

On 9/29/03 3:49 PM, "AlbertCat@aol.com" <AlbertCat@aol.com> wrote:

> In a message dated 9/29/2003 3:25:18 PM Eastern Daylight Time,
> sbuchler@silicongenetics.com writes:
> 
>> I photo copy the page (without changing it's size) and then draw a very
>> fine grid on it.
> 
> Y'know...you could get graph paper with the grid already on it [usually in
> blue] and run it through the copier....copying the pattern on the already
> graded 
> paper. Graph paper is usually 1/8" squares. If you can get the pattern to
> that scale, that would be helpful.
> 
> To rescale the pattern you must know what the new size needs to be. If the CB
> neck to floor is say 50" then in 1/8th scale it needs to be multiplied by
> .125. [on the calculator:1 divided by [/] 8 = .125] so 50 x  .125 = 6.25. So
> that 
> CB measurement on the little pattern in the book should be six and a quarter
> inches.
> 
> So what if it isn't. What if it's like 5.75. You'll need to blow it up a
> little on the Xerox. Here's what to remember: The NEW SIZE / OLD SIZE. No
> matter 
> the numbers: The NEW SIZE / OLD SIZE...then move the decimal over 2 places to
> the right. This works every time to give you the percentage the image needs to
> be blown up or down.
> 
> OK, so you've already given up 'cause it's too complicated. No it isn't. just
> remember:The NEW SIZE / OLD SIZE....decimal over 2 to the right. Period.
> 
> Let's do it.
> 
> The new size needs to be 6.25
> The old size is 5.75
> On the calculator new size / old size
> 6.25 / 5.75 = 1.0869565217391304347826086956522
> 
> WOW! Move the decimal over 2 [108] and forget the rest...noting the 3rd
> number after you move the decimal. If it's more than 5 you may want to round
> the 
> number up.
> 
> So in our example you need to blow up the image 108% [maybe 109%]
> 
> This works every time. I swear. Shall we do one that needs to be smaller?
> 
> Let's say the image in the book has a CB measurement of 9.5" but still needs
> to be 6.25" to fit in the 1/8" scale.
> 
> New size into old size....
> 6.25 / 9.50 = 0.65789473684210526315789473684211
> 
> move the decimal [65] but note the following 7 so round up.
> 
> You need to Xerox it at 66%
> 
> Hello? Is anybody still listening????
> _______________________________________________
> 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] Cotehardie lining fabric?
Date: Mon, 29 Sep 2003 19:18:18 -0400
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On Monday 29 September 2003 10:43 am, Drea Leed wrote:
[snip]

> For linen dyes, all recipes I have seen involve a) an alum + tannin
> premordant or b) a strongly alkaline/lye solution used in conjunction with
> the dyebath. I haven't experiment with the lye-based "mordanting" yet,
> but presumably it somehow helps to lock color into linen & fustian.
>
> Here are the dye  recipes I have (almost all 16th c.) that mention linen.
> Red is by far the most popular color mentioned. Enjoy!

[text of recipes cut]

I could be wrong, but it seems to me that the fact that there were this many 
recipes indicates that *somebody* was wearing linen as an outerlayer in the 
16th c.  Why go to the trouble of dyeing cloth that by and large wasn't going 
to be seen?  Also, a number of the recipes are for fustian, which was worn as 
outerwear at least by the non-noble classes.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Date: Mon, 29 Sep 2003 17:57:12 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cotehardie lining fabric?
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I wrote:

> > now midway through a new fitted dress
> > eyelets done, body done
> > tomorrow: sleeves! then 40 hand-done buttonholes & buttons

Sue asked:

> Oh, hey, did you finally find that blue wool you were looking for, or
> is this another one? And what kind of buttons are you doing?

Ah, this is a story of frustration. After two years of searching, I gave
up on finding the right medium blue
and bought a lovely piece of red wool. Then the day I was going to cut out
the wool -- having already done the linen lining -- I went over to the
Fashion Fabrics Club warehouse (I work for the brick-and-mortar outlet)
with my manager to pick up some fabric, and while I was there I took a
look through the new wools that had come in. Wonder of wonders, there was
the perfect blue in a fine worsted twill. The manufacturer's tag, still on
the bolt (actually there were about 10 bolts, each too heavy for me to
lift alone) said 100% wool. I bought seven yards, took it home and washed
it, and it came up soft and luxurious.

And then I went to lay it out, and realized something was wrong. I did a
bleach test, and yup, sure enough, it had a little lycra in it ... not
enough to notice right off, but enough to give it some extra stretch. If
this were any other project, I might have used it, but since my whole
point for making this dress is to demonstrate the GFD technique of using
straight-grain support and bias flexibility, even a tiny bit of lycra
ruined it.

Despite the mis-tagging from the manufacturer, the Fashion Fabrics website
did get it right when they put the fabric online and marked it 3% lycra,
so at least some of the bolts must have been properly marked. You can see
my too-good-to-be-true blue wool here:

http://www.fashionfabricsclub.com/home/catalog_itemdetail.cfm?ItmID=A343

Oddly, there's another page that's just gone up with something similar,
being sold as 100% wool, but I wonder if it might be the same stuff
anyway. The people who put the fabrics on the website can only go by
what's on the manufacturer's tag, and I know there's some mislabeled wool
in that warehouse:

http://www.fashionfabricsclub.com/home/catalog_itemdetail.cfm?ItmID=A409

I'll investigate eventually, because if they've got some that isn't
stretch, I want it. But alas, too late for this dress, because I have to
have this done in time for KWCS and I'm cutting it close as it is. I went
ahead and cut it in red. It looks good so far. I'm making it to replace my
previous red silk underdress, which I was growing out of in stupid places
like the upper arms and bust. First worry: will I get it done in time?  
Next worry: will my old red-and-blue wool overdress fit over the new
underdress? Last night I tried it on and found the body was fine, but I
had to cut down the neckline by an inch on the sides and back. I've done
that, but not tried it on yet; I hope this doesn't ruin the fit, which
depends a lot on shoulder/neckline play. I'm handicapped here because I
can't touch and manipulate the back; I have to use a mirror and my
husband, who doesn't sew ("OK, pull on that bit, do you feel any tension?
Take this chalk, and mark right where your thumb is -- no, I meant the
other thumb...").

As to buttons: I'm handmaking the buttonholes, but I bought the buttons. I
found some that look like they're brass with a copper edge, which would be
an accurate content for period buttons and better than the average gold or
silver metallic buttons in stores. They're about an eighth-inch wider than
I'd like and too flat for my taste, but they'll do unless/until I find
better ones. Though once I sew forty of them on, I doubt I'll ever want to
replace them!

--Robin

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Cleaning out my sewing stash I have come across some
sheep wool/camel hair coating weight wool in a nice
camel/caramel color.  How should I finish the edges? 
If I full the fabric then I shouldn't need to do edge
finishes should I?  I have enough for a cloak or a
modest houppelande but I think it's too heavy for a
GFD.  Any thoughts?
                             cassandra

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> I buy rolls of paper from art stores. You can buy rolls of paper
> between 2 and 5 feet wide  and they're something like 100 feet on the
> roll ('fraid I don't have it with me to check). Expect to pay between
> 15 and 25$ depending on the weight of paper you're looking for. 

This is good stuff. I get tracing paper weight stuff about 45" wide 
(about like many fabrics, so it's great for pattern drafting.) I 
usually buy about 4 rolls at a time (so I get a lower price for a 
longer period.) I go through a roll in about 2 years (but I use it *a 
lot*. It would last "forever" for most people.)

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] 16th c. clothes loops?
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Just saw this on Ebay:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=115&item=3236465034

So, how exactly would it be used?

-- Mara

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Subject: [h-cost] 18th Century bum pads
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Does anyone know of any extant examples or accounts of the construction of 18th century bum pads, particularly those worn in the '70's but also later ones?  One reads accounts of them everywhere, and Nancy Bradfield has small diagrams of various shapes.  Where did she find these?  How would you recommend making one for a '70's French robe a la polonaise?  Cork ones appeared in the '80's or '90's, something I have some trouble visualizing.  Does anyone know how these were constructed?
Thank you
Alexia
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Thread-Topic: Re: enlarging patterns/pattern paper/calculations
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From: "A.Thurman" <athurman@cybergal.com>
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I'm listening, Albert! I'm listening to all of you, and saving these emails. You've all offered some very good suggestions!

Right now I'm busily looking for a free/cheap paper source due to economic considerations. I'm sure my local art store does have paper if nothing else pans out.

Then what I'm going to do is apply Albert's math to the pattern and see what I can do. It is a *very* simple pattern, mostly perpendicular straight lines with a curved edge. It is a cape, so no sleeves, armholes etc. to worry with. If I can get one of my measurements to coordinate with one of the pattern measurements, it should be a good start (crosses fingers).

Thank you all!

Allison T.

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From h-costume-bounces@indra.com  Mon Sep 29 21:55:56 2003
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Subject: [h-cost] Re: h-cost] RE: enlarging patterns from books?
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Sunny wrote:

>If it's a large pattern then the copier is too much work -- I photo copy 
>the page (without changing it's size) and then draw a very fine grid on 
>it. Then I draw a much larger replica of the grid on my roll of paper.

If your paper is see-through enough, put it over a gridded mat instead. 
Lots less work! If you rotary cut, you probably have that large mat any 
way; if not, it's not a bad investment (or you can get one of those 
fold-out cardboard gridded "layout boards" for sewers).



Brenda
webwarren@earthlink.net


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From h-costume-bounces@indra.com  Mon Sep 29 22:42:31 2003
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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
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Subject: Re: [h-cost] 18th Century bum pads
Date: Mon, 29 Sep 2003 19:41:23 -0700
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I would love to know the answer to this too!  I've seen the same drawings in
Bradfield, but wondered how to practically make it work.  I was watching
_Affair of the Necklace_ the other day, and I noticed that they got that
1780's round shape by using a short hoop (about mid-thigh) that was more
prominent in back than in front -- but I have no idea if this is period.

Thoughts anyone?

- Kendra
http://demode.tweedlebop.com

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From h-costume-bounces@indra.com  Mon Sep 29 22:47:44 2003
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"Alexia S. Jacobs" <asj2001@columbia.edu> inquired:

>Does anyone know of any extant examples or accounts of the construction of 
>18th century bum pads, particularly those worn in the '70's but also later 
>ones?  One reads accounts of them everywhere, and Nancy Bradfield has 
>small diagrams of various shapes.  Where did she find these?

 From the columbia.edu address in your e-mail, I'm presuming you're in NYC.

The Costume Institute of the Metropolitan Museum of Art has at least two 
examples of corsets with hip pads from "third quarter 18th century"; they 
are displayed in _Extreme Beauty: The Body Transformed_, Harold Koda, 
Metropolitan Museum of Art press, copyright 2001. ISBN 1-58839-014-4 
(hardcover); a softcover edition exists as well. You may still find some 
copies of it at the Strand Bookstore's annex down in the South Street 
Seaport area (corner William and Fulton streets, take the 2 or 3 to Fulton 
or the A or C to Broadway-Nassau).

Better yet, phone over to the Costume Institute and make an appointment to 
see them. They are accession numbers CI39.13.211 and CI39.13.206a,b.



Brenda Faith Bell       webwarren@earthlink.net
Consultant, The Web Warren      http://www.webwarren.com/

arachne@webwarren.com


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Jennifer Sena wrote:
> 
> >>For long paper, try someplace like "Smart-n-Final", "Costco" or "Sam's
> >>Club", the bulk food warehouses.  They sell rolls of butcher paper, I used
> >>to use it for absolutely everything.  You'll have to buy a big roll, but
> >>you'll never run out!

I have also seen rolls of buther paper sold in the painting section of Home
Depot 

-- 

Your humble and obediant servant,
David S Mallinak
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Subject: Re: [h-cost] Cotehardie lining fabric?
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At 7:01 PM +0100 9/29/03, Melanie Wilson wrote:
>  >The linen lining of the 15th c. "satin coat of Charles the Bold" is a
>very dark gray or even something reasonably called black.  That's the
>darkest item I've seen from the period. 
>
>Have you a ref for the article please ?

Deuchler, Florens.  1963.  Die Burgunderbeute.  Verlag Stämpfli & Cie, Bern.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
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Hi, All. Hi, Mara. Mike Tartaglio here. I don'y know how the braided 
(copper?) cording was used, but the other wire items were usually used 
like modern hooks and eyes. It looks like a pair of them are attached to 
a central ring set-up, and sewn through the loops to the fabric. Perhaps 
the cording was either a reenforcement for a collar, or to prevent the 
collar from falling open too much (like the chain on 19th-20th Cent. 
British police cloaks). I have one hook (no eye) that was probably used 
to hold the doublet to the breeches. I made copies and put them on my 
linen suit that you saw at St. Maries last year. Bill Ruppert also sells 
them, his are copies of ones he dug up aling the James/Chesapeake areas. 
I've never seen them in that set-up, but I seem to remember them from 
the MoL reserve collection info that I got from the past Plimoth 
Plantation costume director. I'll try and find that illo in my 
*archives* (also known as that piggy mess of docs that someday I will 
get around to cleaning up). It also might just be a collection of finds 
that were thrown together at some point.  Cheers, Mike T.

Mara Riley wrote:

> Just saw this on Ebay:
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=115&item=3236465034 
>
>
> So, how exactly would it be used?
>
> -- Mara
>
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Subject: Re: [h-cost] Cotehardie lining fabric?
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>I'm handicapped here because I
can't touch and manipulate the back; I have to use a mirror and my
husband, who doesn't sew

Start training you kids Robin ! I trust my son to help me with fitting
anytime, years of practice he is ace at it now ;) The girls are getting
better too. Gareth ? naw he never seems to fit equally I end up looking a
very strange shape ;)

Mel

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Cotehardie lining fabric?
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I wrote, about fitting:

> >I'm handicapped here because I
> can't touch and manipulate the back; I have to use a mirror and my
> husband, who doesn't sew


Melanie said:
> Start training you kids Robin ! I trust my son to help me with fitting
> anytime, years of practice he is ace at it now ;)

Good in theory, as my 10yo might manage (the 6yo would not), but I do most
of my sewing while they are in bed or at school!

They're helping me cook, though.

--Robin

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] 18th Century bum pads
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Hi Alexia,
Actually i have never seen any real ones. But i have used Nancy Bradfields
drawings many times.
I have made some just cut round in the shape, 2 pieces sewed together,
turned round and stuffed with polyester stuff. But i have also made some
wich are gathered at the waist. These has a waist tape attached to the
gathereing.
They work fine both.
There are also some real mini paniers (Kyoto book) consisting of 1 small
hoop and some padding in the sides.
I havent tryed that.
The bumroll should be widest at the center back, starting very small center
front and gradually getting wider and wider.
I think the cork ones was small tiny bits of cork stuffed in the roll. They
were popular because they were lightweight ones, but i dont understand
because wool would have ben just as lightweighted as cork?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Alexia S. Jacobs" <asj2001@columbia.edu>
To: <h-costume@net.indra.com>
Sent: Tuesday, September 30, 2003 3:29 AM
Subject: [h-cost] 18th Century bum pads


Does anyone know of any extant examples or accounts of the construction of
18th century bum pads, particularly those worn in the '70's but also later
ones?  One reads accounts of them everywhere, and Nancy Bradfield has small
diagrams of various shapes.  Where did she find these?  How would you
recommend making one for a '70's French robe a la polonaise?  Cork ones
appeared in the '80's or '90's, something I have some trouble visualizing.
Does anyone know how these were constructed?
Thank you
Alexia
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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Cotehardie lining fabric?
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Just ran across a passage in an inventory which stated that x number of 
braccae in linen (can't recall the italian right off) were bought for 
linings of ambassadorial cioppas.  So this hints that perhaps some colored 
linens were used as linings,  where they wouldn't see the light of day 
continually, therefore be able to hold a color longer.  Possible....

Bridgette

>On Monday 29 September 2003 10:43 am, Drea Leed wrote:
>[snip]
>
>I could be wrong, but it seems to me that the fact that there were this many
>recipes indicates that *somebody* was wearing linen as an outerlayer in the
>16th c.  Why go to the trouble of dyeing cloth that by and large wasn't going
>to be seen?  Also, a number of the recipes are for fustian, which was worn as
>outerwear at least by the non-noble classes.

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Subject: Re: [h-cost] 18th Century bum pads
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Wool, though, could become compacted and hard, if it felted itself
within the roll covers.  Cork bits would just stay cork bits.
(well, it sounds reasonable, anyway <g>)
--sue

Bjarne og Leif Drews wrote:
> 
> I think the cork ones was small tiny bits of cork stuffed in the roll. They
> were popular because they were lightweight ones, but i dont understand
> because wool would have ben just as lightweighted as cork?
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations
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>
> Right now I'm busily looking for a free/cheap paper source due to
economic considerations. I'm sure my local art store does have paper if
nothing else pans out.
>

I got some from an auto body place--the paper they use to tape over the
windows of a car when they paint. They may have it cheaper there...

Drea


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Date: Tue, 30 Sep 2003 07:32:39 -0700 (PDT)
From: Mara Riley <corbiegirl@yahoo.com>
Subject: Re: [h-cost] 16th c. clothes loops?
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Hi, Mike, thanks!

I should have clarified, I was mostly intrigued by the braided
cording; I did notice the resemblance between the hooks/eyes and the
ones Ruppert sells (I have a pair on my cloak).  Reinforcement for a
collar makes sense.

Regards,
Mara

--- michael tartaglio <mikes@dandy.net> wrote:
> Hi, All. Hi, Mara. Mike Tartaglio here. I don'y know how the
> braided 
> (copper?) cording was used, but the other wire items were usually
> used 
> like modern hooks and eyes. It looks like a pair of them are
> attached to 
> a central ring set-up, and sewn through the loops to the fabric.
> Perhaps 
> the cording was either a reenforcement for a collar, or to prevent
> the 
> collar from falling open too much (like the chain on 19th-20th
> Cent. 
> British police cloaks). I have one hook (no eye) that was probably
> used 
> to hold the doublet to the breeches. I made copies and put them on
> my 
> linen suit that you saw at St. Maries last year. Bill Ruppert also
> sells 
> them, his are copies of ones he dug up aling the James/Chesapeake
> areas. 
> I've never seen them in that set-up, but I seem to remember them
> from 
> the MoL reserve collection info that I got from the past Plimoth 
> Plantation costume director. I'll try and find that illo in my 
> *archives* (also known as that piggy mess of docs that someday I
> will 
> get around to cleaning up). It also might just be a collection of
> finds 
> that were thrown together at some point.  Cheers, Mike T.


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----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Monday, September 29, 2003 5:49 PM
Subject: Re: [h-cost] RE: enlarging patterns from books?



> Hello? Is anybody still listening????
> __Thanks, Albert this help a lot.

G ; )_____________________________________________
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Cotehardie lining fabric?
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On Mon, 29 Sep 2003, Catherine Olanich Raymond wrote:

> I could be wrong, but it seems to me that the fact that there were
> this many recipes indicates that *somebody* was wearing linen as an
> outerlayer in the 16th c.  Why go to the trouble of dyeing cloth that
> by and large wasn't going to be seen?  Also, a number of the recipes
> are for fustian, which was worn as outerwear at least by the non-noble
> classes.

Since this seems to have been lost in translation (as has happened before
when we've discussed this topic): I don't think anyone has disputed the
use of dyed linen (or linen for outerlayers) in the 16th c. The question
was whether colored linen would be used as the outer layer of a
cotehardie, for which I have seen absolutely no evidence (and a strong
absence of evidence). A couple hundred years makes a lot of difference in
fashion, and we can't extrapolate backwards in this case.

--Robin



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Date: Tue, 30 Sep 2003 09:14:36 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Holbein
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>http://www.ibiblio.org/wm/paint/auth/holbein/gisze.jpg
>
>
>This is the first time I've run across this particular
>Holbein. The garment seems very simple although of
>rich materials.

I grew up with a copy of "Life's Picture History of Western Man", one of 
the first illustrated books from what became Time/Life.  (It's from like 
1952, and only has a few color pictures in it.)  Anyway, it has a full page 
illo of this - like 12" x 14" - with enough detail that I copied the border 
of the rug, tuft by tuft, in needlepoint, right from the book.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: worst book (was [h-cost] Books
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>>Having just spent most of the day reshelving my library, I came across my
>>copy of MS Brooks and was struck anew with the primitive illustrations. They
>>make Peacock look like an "Old Master'. If I take time to read the chapters,
>>I wonder how far off she was, given the scholarship of the time.(Pub. when?)
>>Of more interest  to me, I rediscovered the following.  Any comments?
>>Calthrop, English Costume, 4 volumes, 1906
>>
>>
>Oh good grief! I have that one (calthrop) but in one volume. I was 
>fascinated by it when I was a kid. I have it because it is a rare book, 
>not because it is a costume book.
>The drawings are beautiful watercolors (I think) but they seem to have 
>little to do with historical costume.

OTOH, some of the 19-teens and 1920s costume books, which purport to be all 
the world's costumes in one book, are invaluable to those of us doing 
historical ethnic costumes.  Fuzzy tho they are, some of these illos are 
the only recorded images of folk costumes now extinct.  I treasure a couple 
of this sort of book in my own library, but only for the ethnic stuff and 
the fact that they are probably collectable.

-snip-

 > Shoot,
Gorsline and Braun&Schneider are better than that!

Braun&Schneider is perfect if you're doing Victorian 'fancy dress', which I 
sometimes do.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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From: <mudsleidi@cox.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations
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>
> Right now I'm busily looking for a free/cheap paper source due to
economic considerations. I'm sure my local art store does have paper if
nothing else pans out.
>

When I need large semi-transparent paper on a pattern-by-pattern basis, I use paper tablecloths from the party section of discount stores.

Good Luck!
Heidi

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References: <Pine.LNX.4.10.10309300219410.5523-100000@shell.nightowl.net>
Subject: Re: [h-cost] Cotehardie lining fabric?
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>Good in theory, as my 10yo might manage (the 6yo would not), but I do most
of my sewing while they are in bed or at school!

Well train them for the sake of any future daughters in law ;)

>They're helping me cook, though.

Brill

Mel



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From h-costume-bounces@indra.com  Tue Sep 30 14:42:15 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Tue, 30 Sep 2003 20:43:28 +0200
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Subject: [h-cost] period flowers
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It is very quiet on the list today, so i thoaght about telling you a little
of my process in making an embroidery pattern for my new Duchesse Satin
Suit.
The year of the suit is 1766, and i suddently realised, that the design i
was working with, was a little two modern for this.
The flower sprays are very naturalistic, two naturalistic for this suit in
my point of view.
It would work fine for a 1770 ies suit, but............
Then i have studyed Nathalie Rotsteins book about english silks and it seems
to me that the suit would be better made, if i followed the style for the
60ies. The flowers are more ornamental, than naturalistic.
So i finally ended up with a new design. Two different flowers repeated
after eachother all way down the center fronts jacket. Lined with silver
bobbin lace.
On pale blue duchesse, i ended up with one flowerspray with pale yellow
flowers, and then a peony in pink.
I think it will be fine colors on the silk. Leaves will be in advocado
greens.
All day i have worked on a watercolour of the flowers, and i will finish it
tomorrow. I shall post for you to follow my work.
Apropos books. Did any of you have Nathalie Rothstein big book about Anna
Maria Garthwaite's silk designs?
I looked trough this book at the library today. It is much better than the
smaller version from V&A, doubble as big i think.
It could not be lented home, so i think i want to see if Amazon has it!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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mudsleidi@cox.net wrote:

>>Right now I'm busily looking for a free/cheap paper source due to
> 
> economic considerations. I'm sure my local art store does have paper if
> nothing else pans out.
> 
> 
> When I need large semi-transparent paper on a pattern-by-pattern basis, I use paper tablecloths from the party section of discount stores.
> 

Similarly, gift wrapping tissue is available almost everywhere. You can 
get a package with 20 sheets for under a dollar. It's large enough for 
bodices, sleeves, and the fitted portions of larger pattern pieces. For 
something like a princess dress, I'll trace the neck and arm lines, and 
then just draw the line to the hem freehand with chalk right onto the 
fabric.



Dawn



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Subject: Re: worst book (was [h-cost] Books
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  > OTOH, some of the 19-teens and 1920s costume books, which purport to be
> all the world's costumes in one book, are invaluable to those of us 
> doing historical ethnic costumes.  Fuzzy tho they are, some of these 
> illos are the only recorded images of folk costumes now extinct.  I 
> treasure a couple of this sort of book in my own library, but only for 
> the ethnic stuff and the fact that they are probably collectable.

I have a couple "encyclopedia of world costume" type books that I love 
simply because they are so heavily illustrated. The text varies from 
inane to outright inaccurate, but the selection of photos and reproduced 
art makes them well worth their weight in postage. And even if the 
picture is small and black-and-white, I can usually get a reference I 
can look up in a better book or an online gallery.




Dawn



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From h-costume-bounces@indra.com  Tue Sep 30 16:20:52 2003
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Subject: [h-cost] Burn Tests and fusible interfacing
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Well, I purchased 33 yards of 22" wide silk for $53 off of eBay, and it 
arrived at my home.  Because I'm at college, my parents sent a swatch, and it 
arrived.  To my annoyance, the whole thing seems to have been backed with a fusible 
interfacing-type stuff, which was not noted by the seller.  I did a burn test 
despite the probability of off-results due to the interfacing.  Smells like 
burnt hair, and has something of the ash quality that silk does- but the 
interfacing "melts".  
I plan to use this stuff for a historical in CC22, if I can get the dress 
done in time.  So..does anyone know of a non-fabric-ruining way to get rid of the 
interfacing?  Or do I note it in the documentation, plan to line the skirt, 
and move on with life?

Christine
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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Burn Tests and fusible interfacing
Date: Tue, 30 Sep 2003 15:27:04 -0500
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First, complain to the seller and explain why you're unhappy. Then try this:

Removing Fused Interfacing
To remove interfacing that has been fused in place, hold a steam iron over
interfacing for 5 - 10 seconds. Immediately peel off the interfacing. If it
is still adhered, set the iron on the interfacing, but do not use pressure.
To remove any fusing agent that remains on the fabric, cover it with a damp,
lightweight fabric scrap and press. Peel off while warm. Continue with new
scraps until all the adhesive can be removed by sponging the area with
rubbing alcohol--but be sure the fabric or dye will not be affected.

Good luck!

Talia



> I plan to use this stuff for a historical in CC22, if I can get the dress
> done in time.  So..does anyone know of a non-fabric-ruining way
> to get rid of the
> interfacing?  Or do I note it in the documentation, plan to line
> the skirt,
> and move on with life?
>
> Christine

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Talia wrote:

> First, complain to the seller and explain why you're unhappy. Then try this:
> 
> Removing Fused Interfacing
> To remove interfacing that has been fused in place, hold a steam iron over
> interfacing for 5 - 10 seconds. Immediately peel off the interfacing. 

This will generally work with something like Pellon that was applied at 
home. However, test a swatch first. I'm working with some satin that I 
am interfacing to give it more body, and I've had to remove a few 
pieces. The interfacing came right off, but the weave of the fabric was 
affected by many tiny pulls. It's not terribly noticeable in the small 
areas I've done, due to the matte surface of the satin, but on a silk or 
a fabric with a sheen it may ruin the weave.



Dawn




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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cotehardie lining fabric?
Date: Tue, 30 Sep 2003 22:03:27 -0400
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On Tuesday 30 September 2003 11:42 am, Robin Netherton wrote:
> On Mon, 29 Sep 2003, Catherine Olanich Raymond wrote:
> > I could be wrong, but it seems to me that the fact that there were
> > this many recipes indicates that *somebody* was wearing linen as an
> > outerlayer in the 16th c.  Why go to the trouble of dyeing cloth that
> > by and large wasn't going to be seen?  Also, a number of the recipes
> > are for fustian, which was worn as outerwear at least by the non-noble
> > classes.
>
> Since this seems to have been lost in translation (as has happened before
> when we've discussed this topic): I don't think anyone has disputed the
> use of dyed linen (or linen for outerlayers) in the 16th c. The question
> was whether colored linen would be used as the outer layer of a
> cotehardie, for which I have seen absolutely no evidence (and a strong
> absence of evidence). A couple hundred years makes a lot of difference in
> fashion, and we can't extrapolate backwards in this case.

True enough.  

However, the only evidence of dye recipes that anyone had posted in the thread 
thus far was Drea's post with examples of 16thc dye recipes for linen. I was 
responding to that.  

So I guess my question now is:  does anyone know of 14th c (or earlier) dye 
recipes specifically for linen?

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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At 6:48 AM -0600 9/30/03, Sue Clemenger wrote:
>Bjarne og Leif Drews wrote:
>>
>>  I think the cork ones was small tiny bits of cork stuffed in the roll. They
>>  were popular because they were lightweight ones, but i dont understand
>  > because wool would have ben just as lightweighted as cork?

>Wool, though, could become compacted and hard, if it felted itself
>within the roll covers.  Cork bits would just stay cork bits.
>(well, it sounds reasonable, anyway <g>)
>--sue
>

I used wool to stuff some 15th c. sleeve puffs on a man's doublet and 
with only a few wearings the stuffing felted down to small wads and I 
had to find another solution.

Heather
-- 
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To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations
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At 1:56 PM -0400 9/30/03, <mudsleidi@cox.net> wrote:
>  >
>>  Right now I'm busily looking for a free/cheap paper source due to
>economic considerations. I'm sure my local art store does have paper if
>nothing else pans out.
>>
>
>When I need large semi-transparent paper on a pattern-by-pattern 
>basis, I use paper tablecloths from the party section of discount 
>stores.

I once found a roll of paper tablecloth that even had an embossed 
pattern of one-inch squares!

Heather
-- 
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