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Subject: Re: [h-cost] Re: FO: 18th c. Fashion baby
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>
> Yes. I had originally made her about 10 years ago, as I wanted a 
> 'fashion baby' sized to fit most of Janet Arnold's pattern book diagrams 
> without much fiddling. I did a ... bad, I should say, job on the 
> original head and this is the result my taking her apart, doing some 
> maintenance on her clothes, and making her look nicer.
>
*snippage*

>
> I'll probably put up a page on her, along with all those other pages I 
> have to edit and post - you know, in my spare time! ;)

Hmmm -- this just might answer the question that I was about to ask --
*how* did you make her?  I want one too!  :-)

Jerusha
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From: Kitsune242@aol.com
To: h-costume@indra.com (Historical Costume)
Subject: Re: [h-cost] Alteryears
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Sylvia,

Was there a reply in here than I am missing?

Kit

In a message dated 9/30/2004 7:36:15 PM Eastern Daylight Time, Sylvia Rognstad <sylvia@ntw.net> writes:

>
>On Sep 30, 2004, at 4:45 PM, Kitsune242@aol.com wrote:
>
>> Does anyone know how to get ahold of Alteryears?
>>
>> -- 
>> Kit
>> If you walk a mile in someone else's shoes, do you get to keep them? - 
>> Kenneth Cole
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>_______________________________________________
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>


-- 
Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole

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From h-costume-bounces@indra.com  Fri Oct  1 18:25:16 2004
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Sorry.  I accidentally hit the wrong button.

On Oct 1, 2004, at 12:28 PM, Kitsune242@aol.com wrote:

> Sylvia,
>
> Was there a reply in here than I am missing?
>
> Kit
>
> In a message dated 9/30/2004 7:36:15 PM Eastern Daylight Time, Sylvia 
> Rognstad <sylvia@ntw.net> writes:
>
>>
>> On Sep 30, 2004, at 4:45 PM, Kitsune242@aol.com wrote:
>>
>>> Does anyone know how to get ahold of Alteryears?
>>>
>>> -- 
>>> Kit
>>> If you walk a mile in someone else's shoes, do you get to keep them? 
>>> -
>>> Kenneth Cole
>>>
>>> _______________________________________________
>>> 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
>>
>
>
> -- 
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? - 
> Kenneth Cole
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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On Friday 01 October 2004 12:36 am, lisa wrote:
> On Thu, 30 Sep 2004, Catherine Olanich Raymond wrote:
> > There appears to be a significant market for collectors of high-priced
> > and genuine Asian antiques, artifacts, and antiquities in general.  I
> > know of at least two periodicals aimed at this market, because used
> > copies turn up at 60% off at a used bookstore I frequent.  The
> > periodicals are called "Orientations" and "Arts of Asia".
>
>          Thank you so much for this information!  I really appreciate your
> offer to copy the bibilography from the article but by extreme good luck
> my university library subscribes to both periodicals :-D.  Thank you also
> to the person who brought up Piecework.  I'll go and pick one up.

You're welcome.

Now, bear in mind as I said that a lot of issues don't have any material 
relating to costume or textiles.  Still, some do, and the articles they 
publish on said subjects are fascinating.  Good luck!


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: [h-cost] Silk
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I was curious to find out what would be the best type of silk to line a
linen or velvet bodice or doublet?  What is most comfortable and durable?
Would you suggest using silk as a lining fabric?  What's the popular
opinion?

Thanks,
Becky


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Silk
Date: Sat, 02 Oct 2004 09:15:57 +0000
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Hi!  Silk or linen are my preferred fibers for lining.  For fancy-schmancy doublets, bodice linings, and sleeves linings, I prefer silk if I'm making the garment out of silk.  No raw silk or duponi!  Use a good quality silk for the lining, or the wear and tear that naturally occurs on the inside of the garment may shred the material.

For garments made with wool or linen I prefer 100% linen for linings.  Depending on whether or not the garment(s) will be dry cleaned or not, I try to be sure that the main fabric and the lining will react similarly (shrinkage, colorfastness, etc.).  *Usually* (and there are exceptions to this) I wash both before construction.

But, as always, it depends on what is period.  Other criteria includes who is wearing the said garment(s), for what purpose, and  what kind of wear (indoors or outdoors) will be endured.  

*sigh*...Clear as mud, huh?  I hope this helps....
--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 
Emer's Needle Wares

-------------- Original message -------------- 

> I was curious to find out what would be the best type of silk to line a 
> linen or velvet bodice or doublet? What is most comfortable and durable? 
> Would you suggest using silk as a lining fabric? What's the popular 
> opinion? 
> 
> Thanks, 
> Becky 
> 
> 
> _______________________________________________ 
> 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] Silk
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My advice? Don't use the !1#&$%1 floaty sorts of silk like charmeuse or
china silk/habotai as lining; they'll make you wish silk were never
invented. I'm not saying that the end result, when done well, isn't
nice--but the process will drive you nuts. (I've stopped using china silk
for anything larger than facings, lately, and I won't touch charmeuse.)
Since a doublet is pretty structural anyway, I'd use something stiffer and
less maddening, like taffeta or silk twill.

-E

----- Original Message ----- 
From: <rreed@indirectobject.com>


> I was curious to find out what would be the best type of silk to line a
> linen or velvet bodice or doublet?  What is most comfortable and durable?
> Would you suggest using silk as a lining fabric?  What's the popular
> opinion?

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

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Date: Sat, 2 Oct 2004 19:09:35 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] RE: h-costume Digest, Vol 3, Issue 791
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Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Wed, 29 Sep 2004, Lynn Downward wrote:
>
>> So the Victorians in their properness unlearned right/left? Go figure.
>
>I remember visiting the shoemaker's shop at Colonial Williamsburg in, hmm,
>the mid-1970s, and hearing there that "in the old days" shoes were
>straight, not right-left. The advantage to this, they said, was not only
>that they were easier to make, but that you could get more wear from the
>shoes by alternating which feet you wore them on, on a daily basis.
>
How would you ever get shoes worn in if you did this?  Wouldn't they 
just be permanently uncomfortable, never actually moulding to your feet?

Jean


-- 
Jean Waddie
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Greetings everyone!  Well, I've gotten to the point in my business where I've got to come up with a business plan.  I've got no idea where to start, so I thought to turn to you lovely folks.

Please email me off list if you can help or advise on how to do this.  Unfortunately, I have a very strict deadline of getting this submitted by mid-October.  Any assistance would be wonderful!

Thank you!
--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 
Emer's Needle Wares
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Date: Sat, 02 Oct 2004 19:00:35 -0400
Subject: Re: [h-cost] RE: h-costume Digest, Vol 3, Issue 791
From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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Turns out that "switching them every day" thing is pure myth -- your
suspicion that they'd just never be comfortable is accurate. In examinations
of archaeological finds of straight-lasted shoes it is apparent that they
were earmarked for one foot or the other and broken in to suit just one
foot, left or right. For quick-and-dirty summary of the evidence,
re-enactment shoemaker Fugawee has this to say:
http://www.fugawee.com/Men's%20Colonial.htm

I'm sure there are better sources but this about covers it.
Lauren

> From: Jean Waddie <anne@montgomerie.demon.co.uk>

> Robin Netherton <robin@shell.nightowl.net> wrote
>> 
>> On Wed, 29 Sep 2004, Lynn Downward wrote:
>> 
>>> So the Victorians in their properness unlearned right/left? Go figure.
>> 
>> I remember visiting the shoemaker's shop at Colonial Williamsburg in, hmm,
>> the mid-1970s, and hearing there that "in the old days" shoes were
>> straight, not right-left. The advantage to this, they said, was not only
>> that they were easier to make, but that you could get more wear from the
>> shoes by alternating which feet you wore them on, on a daily basis.
>> 
> How would you ever get shoes worn in if you did this?  Wouldn't they
> just be permanently uncomfortable, never actually moulding to your feet?
> 
> Jean
> 
> 
> -- 
> Jean Waddie
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: RE: [h-cost] RE: h-costume Digest, Vol 3, Issue 791
Date: Sat, 2 Oct 2004 22:48:44 -0400
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Hello,

   The real reason for straight last shoes is to save money.  One last is
need for each size rather than two.  even in the 18th  century shoes were
occasionally not straight last.  Now it is more than a little possible that
Colonial Williamsburg was saying this back in the seventies, but they will
not say it today.  Al Saguto (the master of the shop ) has pointed out that
shoes, even straight last are if properly made still left and right.  This
is because the human ankle is not symmetrical.  Al states that it is obvious
from original shoes that they did not transfer them from foot to foot as
they are in fact worn.

  I did not see the original post here, but straight last shoes are going
away for much of the Victorian period.

Ron Carnegie
>
> I'm sure there are better sources but this about covers it.
> Lauren
>
> > From: Jean Waddie <anne@montgomerie.demon.co.uk>
>
> > Robin Netherton <robin@shell.nightowl.net> wrote
> >>
> >> On Wed, 29 Sep 2004, Lynn Downward wrote:

> >>> So the Victorians in their properness unlearned right/left? Go figure.
> >>
> >> I remember visiting the shoemaker's shop at Colonial
> Williamsburg in, hmm,
> >> the mid-1970s, and hearing there that "in the old days" shoes were
> >> straight, not right-left. The advantage to this, they said,
> was not only
> >> that they were easier to make, but that you could get more
> wear from the
> >> shoes by alternating which feet you wore them on, on a daily basis.
> >>
> > How would you ever get shoes worn in if you did this?  Wouldn't they
> > just be permanently uncomfortable, never actually moulding to your feet?
> >
> > Jean
> >
> >
> > --
> > Jean Waddie
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
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From: "Penny Ladnier" <penny@costumegallery.com>
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I am working on an 1877 etiquette book.  In it is a recipe for Ox-marrow Pomatum.  Does anyone know what this is and what it was used for?

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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From: julian wilson <smnco37@yahoo.co.uk>
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Penny Ladnier <penny@costumegallery.com> wrote: 
I am working on an 1877 etiquette book. In it is a recipe for Ox-marrow Pomatum. Does anyone know what this is and what it was used for?
ANSWER

Dear Penny,

I've done a lot of reading of Victorian-period books, articles, magazines, - and though I haven't come across that particular recipe before, I'd say that the root word "pomatum" indicates it's a recipe for some kind of "Dressing" for mens' hair - head, or beard, or moustachios. 
The use of ox-marrow would suggest to the victorian reader - [potential buyer/user] - that the concoction "worked" by  the transfer of some of the putative strength of the ox into the pomatum [pomade?]  - and thence to the user, whence it might be absorbed into the hair system, and stimulate growth. 
 
A lot of Victorian "commercial psuedo-science" was thought to work like that. As an example, I commend to you the outrageous pseudo-scientific arguments of the self-appointed English "scientific expert" Dr. Dionysius Lardner. One of his more outrageous pronouncements concerned the speed of travel of the then-new railways; - "that passengers will be suffocated through being unable to breath if trains go too fast. The air will be sucked from their lungs" he said.
 
In sum, my first guess would be that this "pomatum" was intended as a stimulant for men who were losing their hair, and wanted it to grow more thickly; or had already lost it, and wanted it to grow back.
 
BTW, in a costume connection to railways - many years ago, I once read somewhere that the width of Victorian 2nd Class and First Class railway-carraige doors, - and the widths of those compartments behind - were determined by the width and bulk of Ladies skirts, at the time.
 
In service,
Julian,
in "olde" Jersey, 15 miles off the French coast, where there were once two, separate, railways.




		
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From: Jennifer Geard <geard@verso.org>
Subject: Re: [h-cost] What is this used for
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On Sun, 03 Oct 2004 20:23, Penny Ladnier wrote:
> I am working on an 1877 etiquette book.  In it is a recipe for Ox-marrow
> Pomatum.  Does anyone know what this is and what it was used for?

A pomade or pomatum is a perfumed ointment for the hair and scalp. It might be 
used as a hair dressing or rubbed into the scalp to encourage lush growth of 
hair.

Your recipe wouldn't be the only one to use marrow as a base for a pomatum. 
Try searching for "marrrow" in the following two pages: 
http://www.theladiesparlor.com/63may.htm
http://www.mspong.org/cyclopedia/perfumery.html

While the Victorians were not immune to the call of sympathetic magic, I'd 
expect that ox marrow -- from beef bones -- was simply a readily-available 
fatty base for ointments. 

Yours,
  Jennifer
-- 
Jennifer Geard
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] stomacher with birdcoupple
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Hi,
For Alexias new dress i am going to make this winter season, i have made a
design for the stomacher. Alexia wanted me to incooperate a little annimal,
and i chose a birdcoupple sitting in the middle.
I would like to invite you to se it.
Here: http://www.my-drewscostumes.dk/helmspatterns.htm
It is the second stomacher design.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Sun, 3 Oct 2004 07:05:45 -0700 (PDT)
From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] stomacher with birdcoupple
To: Historical Costume <h-costume@indra.com>
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That is a charming design.

I look forward to seeing it with the added richness of
your beautiful embroidery.

Ann in CT

--- Bjarne og Leif Drews <drewscph@post12.tele.dk>
wrote:

> Hi,
> For Alexias new dress i am going to make this winter
> season, i have made a
> design for the stomacher. Alexia wanted me to
> incooperate a little annimal,
> and i chose a birdcoupple sitting in the middle.
> I would like to invite you to se it.
> Here:
> http://www.my-drewscostumes.dk/helmspatterns.htm
> 
> Bjarne



		
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Subject: Re: [h-cost] stomacher with birdcoupple
Date: Sun, 3 Oct 2004 11:45:20 -0400
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On Sunday 03 October 2004 10:05 am, Ann Catelli wrote:
> That is a charming design.
>
> I look forward to seeing it with the added richness of
> your beautiful embroidery.

I agree, on both counts!

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] My next frustration: belts & metalwork
Date: Sun, 3 Oct 2004 10:34:58 -0500
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May I offer you this link?

http://www.ganoksin.com/orchid/archive/200407/thrd10.htm#01229

look for the thread of "Thoughts on PMC?" you will find many
knowledgeable speakers and users, the vast majority are professional
jewelers, and open to questions!
HTH, Betsy
 A subsequent search of the Orchid Archives will reveal other threads on
Torch firing PMC, and/or enamel; where no kiln is required.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of E House
Sent: Saturday, September 25, 2004 11:38 AM
To: Historical Costume
Subject: [h-cost] My next frustration: belts & metalwork

snip..
On that note, I came across an interesting sort of material--precious
metal
clay, and art clay (silver clay stuff). The stuff is tiny metal
particles,
in a binder that makes it workable as though it were clay; when you fire
it,
the binder is burnt off, leaving only the metal. The advantages are that
it's much simpler to work with, and that you need to invest less in
equipment, and also that it's something (I hope) I could do in an
apartment.
The drawbacks are that the metal clay itself is a good deal more
expensive
than just buying normal metal, and that the one big equipment cost is a
small kiln, which runs ~$600.

Has anyone ever tried this stuff? Is it worth it, or would I be better
off
learning how to cast and all of that mess? Could I really do it in my
apartment? Are there any horrible fumes I'd be exposed to? Is there, by
any
chance, some type of business that might let me buy the occasional scrap
of
space in their kiln, so that I could try it a few times before buying a
kiln?

-E House
Liberty in Our Lifetime - www.freestateproject.org
Coming Soon - http://www.seamcheckers.com

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It depends on how soft the shoes are.  Modern ballet slippers (I'm not 
talking about hard toe shoes) are not made with rights/lefts.  The 
leather is very soft and the shoes are adjusted with a drawstring.  It's 
a primitive shoe design.  If you wear a ballet slipper on the same foot 
time after time it will eventually mold itself to that foot, but the 
shoe is so soft such molding makes little difference.

I forget if the "ghilles" made for Scottish dance have rights/lefts, but 
as they are a similar soft shoe adjusted with lacings, they may not.

Fran
Lavolta Press Books on Historic Costuming
Two new books!
http://www.lavoltapress.com


>>
> How would you ever get shoes worn in if you did this?  Wouldn't they 
> just be permanently uncomfortable, never actually moulding to your feet?
>
> Jean
>
>
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Date: Sun, 3 Oct 2004 10:59:37 -0700
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Subject: [h-cost] ca. 1750 sack dress -- Unfinished Project Free to Good Home
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(NOTE:  Please send "dibs!" messages directly to me -- not to the list.)

First a little story ...

Once upon a time, a little over 20 years ago, I was fresh out of 
college and job-hunting, and while I was suspended in that state of 
no income, I wandered into a fabric store (mistake, of course) and 
saw this beautiful bolt of fabric.  It was a 100% cotton damask, in a 
sort of mossy pea-green, with 2"-wide stripes and sprigs of 
lily-of-the-valley (all done as a damask weave effect -- solid 
color).  I fell in love with the fabric and felt that it desperately 
wanted to be a mid/late 18th century gown ... never mind the fact 
that I had and have absolutely no excuses to wear 18th century gowns.

But I was in love (with the fabric) so logic went out the window, and 
I told myself that if the fabric was still there in the store when I 
got a job, I'd buy it to celebrate.  Well, it was; and I did.  And in 
my usual can't-wait-to-get-started fashion, I started putting the 
gown together before I'd done anything sensible like making 
underpinnings.  So I got to the point where I couldn't go any further 
without coming up with a corset and panniers and I set it aside until 
I'd gotten around to doing that part.

Twenty years pass.

Well, not only did I never get around to making the underpinnings 
(which may have had something to do with never having had an 
excuse/deadline for finishing the dress), but there's a reasonably 
good chance I'll never be the same size and shape I was when I 
drafted the dress.  And being in the middle of completely 
re-organizing my sewing space, I decided it was time to find a good 
home for what is still one of my most gorgeous pieces of fabric I 
ever bought.  So I would like to offer up this project and all the 
accompanying materials FREE to someone who:

1) Will finish it.
2) Will wear it (or finish it for someone else who will wear it).
3) Will send me pictures.

Here are some specifics:

I took the pattern from Norah Waugh's "The Cut of Women's Clothes 
1600-1930" from Diagram XV "Sack Dress 1740-50, London Museum". 
Comparing the pattern pieces I drafted with the scale of the 
original, I appear to have drafted it up to roughly the same scale as 
the original (which might not have been a good idea, but it makes it 
easier to communicate the size).  Because the style of gown doesn't 
close completely in front, the potential waist measurement is 
variable, looks like 32-34"; similarly it looks like it could be a 
40-42" bust.  I'm 5'4" and the height is just about right at the 
front skirt, so it wouldn't really work for anyone taller.  (The back 
has a slight train.)

I offer no warranty that the fabrics involved are precisely 
historically accurate for the style of dress.  The choice was an 
esthetic one at a time when I was less knowledgeable (and I'm still 
vastly ignorant about this time period, so I won't offer any opinion 
now either).

The sewing done on it so far is passable but not professional.  The 
gown is assembled but not hemmed and the eyelets in the back lining 
haven't been done yet, so if you wanted to unpick the seams and start 
over, it wouldn't be impossible.  It needs more boning than I've 
currently put into it.  The lining is a pale yellow slightly glazed 
cotton.

Accompanying items:

- the remaining "cabbage" from the main fabric

- 1 1/2 spools of matching thread

- 5 1/2 yards (45") slightly glossy medium-weight cotton twill in the 
same color as the main fabric (essentially: the same as the main 
fabric but without the woven designs), intended for the underskirt 
and stomacher, but never cut

- a card of ca. 20-30 yards of pale yellow machine lace edging (2" 
wide), no particular use intended, but it matched the color scheme 
and I was waiting for inspiration

- a piece of much nicer ecru machine lace, 24" high by 60" wide, with 
a wide border design along the bottom edge; I'd meant to look into 
whether this style of dress might have had a lace flounce on the 
underskirt

- 5 yards of 1/2" wide green ... um ... not sure what the technical 
term would be, "trim", the sort of thing you might use in upholstery; 
the color matched the main fabric, and it looked like it might be 
appropriate to use somewhere

Also available if desired: my scaled-up pattern, done on newsprint 
(which confirms that I started this project in June 1983).

The fabric is all in good condition and has been stored out of the 
light.  Slightly rumpled and creased, but no fading.  There are a few 
slight stains along the bottom edge (which may end up being removed 
when hemming anyway) from an incident involving a leaky roof and a 
damp carpet in the closet.

I will cheerfully pack this all up and ship it to the person who 
convinces me that they will lovingly finish it and wear it and send 
me pictures of them doing so.  (I.e., this offer is _not_ "first 
come, first served".)  If you live in the US, I'll even spring for 
the UPS costs -- if you live out of the US, then we'll have to 
negotiate.  If you're reasonably local to the San Francisco Bay Area 
and want to take a look first, that's possible.

PLEASE: Send expressions of interest directly to me, not to the list. 
Not that there aren't any number of list-appropriate threads that 
could take off from the topic ....

Heather
heather.jones@earthlink.net
-- 
****
Heather Rose Jones
heather.jones@earthlink.net
****
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Subject: Re: [h-cost] ca. 1750 sack dress -- Unfinished Project Free to Good
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In a message dated 10/3/2004 2:03:45 PM Eastern Standard Time, 
heather.jones@earthlink.net writes:
PLEASE: Send expressions of interest directly to me, not to the list. 
Not that there aren't any number of list-appropriate threads that 
could take off from the topic ....

Heather
I appreciate that you want replies off-list, but would you please let the 
whole list know when you make a disposition? You've piqued my (and I'm sure many 
others') curiosity!
Ann Wass
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Date: Sun, 3 Oct 2004 19:54:10 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] RE: h-costume Digest, Vol 3, Issue 791
References: <BD8095A2.10B3%ldownward@chori.org>
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This was actually what made me ask, because I remember always having to 
write "L" and "R" on my ballet shoes, from when I was really small, so 
that they were always worn on the same foot to get a good shape.  You 
also made me go and check my old pointe shoes (I keep them for 
sentimental reasons!) - they are straight lasted as well.

Jean


Lavolta Press <fran@lavoltapress.com> wrote
>It depends on how soft the shoes are.  Modern ballet slippers (I'm not 
>talking about hard toe shoes) are not made with rights/lefts.  The 
>leather is very soft and the shoes are adjusted with a drawstring. 
>It's a primitive shoe design.  If you wear a ballet slipper on the same 
>foot time after time it will eventually mold itself to that foot, but 
>the shoe is so soft such molding makes little difference.
>
>I forget if the "ghilles" made for Scottish dance have rights/lefts, 
>but as they are a similar soft shoe adjusted with lacings, they may not.
>
>Fran
>Lavolta Press Books on Historic Costuming
>Two new books!
>http://www.lavoltapress.com
>
>
>>>
>> How would you ever get shoes worn in if you did this?  Wouldn't they 
>>just be permanently uncomfortable, never actually moulding to your feet?
>>
>> Jean
>>
>>
>_______________________________________________
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-- 
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] ca. 1750 sack dress -- Unfinished Project Free to Good
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On Sun, 3 Oct 2004, Heather Rose Jones wrote:


> PLEASE: Send expressions of interest directly to me, not to the list.  
> Not that there aren't any number of list-appropriate threads that
> could take off from the topic ....

But do tell us who "wins" -- and maybe insist that they also make a
picture of the final result to the list, too? I'd love to see how this
turns out.

--Robin

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Thank you Julian and Jennifer for the quick answer.  Another one that I don't know is cerate.  I know it is an ointment but do not know what it was used for.

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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I wonder if Bjarne would have time or interest...?  Do let us know who
adopts the project!

>So I would like to offer up this project and all the 
>accompanying materials FREE to someone who:
>
>1) Will finish it.
>2) Will wear it (or finish it for someone else who will wear it).
>3) Will send me pictures.



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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] clarification on beaded trim
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What color are you looking for?
If white, the bridal section is your best bet. If you're using another color,
you might try searching for "sari trim". Sellers on ebay often sell wide 
beaded trims
in various colors meant to decorate the edges of saris.


Sheryl Nance-Durst


At 05:21 PM 9/29/04 -0400, you wrote:
>The pattern in question (Butterick 4093, Misses tunic, gown and girdle,
>C1914) calls for 8.5 yards of 1.75" wide beaded ribbon.  It is not 
>a  fringe, but
>rather an embroidered, beaded ribbon that lays flat.  I have  searched high
>and low for something like what is on the pattern cover, with 
>zero  luck.  I am
>not sure of what I will use as a substitute.  Yeah, I  could bead plain 
>ribbon
>to go on the edge of the tunic, but somehow it is not  exactly a high
>priority right now.
>
>It really aggravates me when  a pattern (and we are not talking Vogue  here
>either) calls for something that is nowhere to be found.
>
>~Kimberley
>_______________________________________________
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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] What is this used for
In-Reply-To: <006f01c4a998$e59ab120$0a3bfea9@MOM>
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cerate - a hard medicated paste made of lard or oil mixed with wax or resin;
         ointment, salve, unguent, balm, unction - semisolid preparation 
(usually containing
         a medicine) applied externally as a remedy or for soothing an 
irritation

(from thefreedictionary.com)

Sheryl Nance-Durst



At 06:32 PM 10/3/04 -0400, you wrote:
>Thank you Julian and Jennifer for the quick answer.  Another one that I 
>don't know is cerate.  I know it is an ointment but do not know what it 
>was used for.
>
>Penny E. Ladnier
>Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
>www.costumegallery.com
>www.costumegallery.com/research.htm
>www.costumeclassroom.com
>_______________________________________________
>h-costume mailing list
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>http://mail.indra.com/mailman/listinfo/h-costume



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From: "Megan M." <megan@benchite.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] ca. 1750 sack dress -- Unfinished Project Free to Good
	Home
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I was wondering if there was a picture of the fabric or dress so far
anywhere.  It is a little small for me at the moment (have to lose about 20#
for it to fit, and I also have no place to wear it so I guess it is not for
me) but I'm still interested in seeing it.
-Megan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Heather Rose Jones
Sent: Sunday, October 03, 2004 2:00 PM
To: Historical Costume
Subject: [h-cost] ca. 1750 sack dress -- Unfinished Project Free to Good
Home

(NOTE:  Please send "dibs!" messages directly to me -- not to the list.)

First a little story ...

Once upon a time, a little over 20 years ago, I was fresh out of 
college and job-hunting, and while I was suspended in that state of 
no income, I wandered into a fabric store (mistake, of course) and 
saw this beautiful bolt of fabric.  It was a 100% cotton damask, in a 
sort of mossy pea-green, with 2"-wide stripes and sprigs of 
lily-of-the-valley (all done as a damask weave effect -- solid 
color).  I fell in love with the fabric and felt that it desperately 
wanted to be a mid/late 18th century gown ... never mind the fact 
that I had and have absolutely no excuses to wear 18th century gowns.

But I was in love (with the fabric) so logic went out the window, and 
I told myself that if the fabric was still there in the store when I 
got a job, I'd buy it to celebrate.  Well, it was; and I did.  And in 
my usual can't-wait-to-get-started fashion, I started putting the 
gown together before I'd done anything sensible like making 
underpinnings.  So I got to the point where I couldn't go any further 
without coming up with a corset and panniers and I set it aside until 
I'd gotten around to doing that part.

Twenty years pass.

Well, not only did I never get around to making the underpinnings 
(which may have had something to do with never having had an 
excuse/deadline for finishing the dress), but there's a reasonably 
good chance I'll never be the same size and shape I was when I 
drafted the dress.  And being in the middle of completely 
re-organizing my sewing space, I decided it was time to find a good 
home for what is still one of my most gorgeous pieces of fabric I 
ever bought.  So I would like to offer up this project and all the 
accompanying materials FREE to someone who:

1) Will finish it.
2) Will wear it (or finish it for someone else who will wear it).
3) Will send me pictures.

Here are some specifics:

I took the pattern from Norah Waugh's "The Cut of Women's Clothes 
1600-1930" from Diagram XV "Sack Dress 1740-50, London Museum". 
Comparing the pattern pieces I drafted with the scale of the 
original, I appear to have drafted it up to roughly the same scale as 
the original (which might not have been a good idea, but it makes it 
easier to communicate the size).  Because the style of gown doesn't 
close completely in front, the potential waist measurement is 
variable, looks like 32-34"; similarly it looks like it could be a 
40-42" bust.  I'm 5'4" and the height is just about right at the 
front skirt, so it wouldn't really work for anyone taller.  (The back 
has a slight train.)

I offer no warranty that the fabrics involved are precisely 
historically accurate for the style of dress.  The choice was an 
esthetic one at a time when I was less knowledgeable (and I'm still 
vastly ignorant about this time period, so I won't offer any opinion 
now either).

The sewing done on it so far is passable but not professional.  The 
gown is assembled but not hemmed and the eyelets in the back lining 
haven't been done yet, so if you wanted to unpick the seams and start 
over, it wouldn't be impossible.  It needs more boning than I've 
currently put into it.  The lining is a pale yellow slightly glazed 
cotton.

Accompanying items:

- the remaining "cabbage" from the main fabric

- 1 1/2 spools of matching thread

- 5 1/2 yards (45") slightly glossy medium-weight cotton twill in the 
same color as the main fabric (essentially: the same as the main 
fabric but without the woven designs), intended for the underskirt 
and stomacher, but never cut

- a card of ca. 20-30 yards of pale yellow machine lace edging (2" 
wide), no particular use intended, but it matched the color scheme 
and I was waiting for inspiration

- a piece of much nicer ecru machine lace, 24" high by 60" wide, with 
a wide border design along the bottom edge; I'd meant to look into 
whether this style of dress might have had a lace flounce on the 
underskirt

- 5 yards of 1/2" wide green ... um ... not sure what the technical 
term would be, "trim", the sort of thing you might use in upholstery; 
the color matched the main fabric, and it looked like it might be 
appropriate to use somewhere

Also available if desired: my scaled-up pattern, done on newsprint 
(which confirms that I started this project in June 1983).

The fabric is all in good condition and has been stored out of the 
light.  Slightly rumpled and creased, but no fading.  There are a few 
slight stains along the bottom edge (which may end up being removed 
when hemming anyway) from an incident involving a leaky roof and a 
damp carpet in the closet.

I will cheerfully pack this all up and ship it to the person who 
convinces me that they will lovingly finish it and wear it and send 
me pictures of them doing so.  (I.e., this offer is _not_ "first 
come, first served".)  If you live in the US, I'll even spring for 
the UPS costs -- if you live out of the US, then we'll have to 
negotiate.  If you're reasonably local to the San Francisco Bay Area 
and want to take a look first, that's possible.

PLEASE: Send expressions of interest directly to me, not to the list. 
Not that there aren't any number of list-appropriate threads that 
could take off from the topic ....

Heather
heather.jones@earthlink.net
-- 
****
Heather Rose Jones
heather.jones@earthlink.net
****
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Subject: [h-cost] Rights/Lefts
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I think I've missed some of these messages.

Medieval shoes are virtually all rights and lefts, made on right and left 
shaped lasts.  When unturned shoes start coming in in the late 15th century, 
straight lasts come in with the wide toed shoes.  The assumption is that it 
was cheaper to buy one new last, than to buy two.  Cheapy turned shoes for 
servants, sailors and dancing may have still been made on paired lasts at 
this time.  When separate, raised heels start showing up around 1600, right 
and left lasts just gradually fade away until it is forgotten that they were 
ever the norm.

When they start returning in the early 19th century paired lasts took a few 
years to catch on, and pretty much by the middle of the century they were 
really the norm (Army specifications for the Civil War, for example, are 
supposed to have been for shoes made on paired lasts - I said "said to have 
been" since this isn't really my area of research).

As Ron mentioned, Al Saguto at CW has been trying hard to stamp the 
particular myth of switching shoes back and forth out.  That is not to say 
that it *never* happened (the sparse documentation suggests it may have in 
some cases), but it certainly wasn't the norm.

Marc

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Alteryears
Date: Sun, 3 Oct 2004 22:35:00 -0500
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Have you tried their website?

De

-----Original Message-----
Does anyone know how to get ahold of Alteryears?

--
Kit
If you walk a mile in someone else's shoes, do you get to keep them? -
Kenneth Cole


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From h-costume-bounces@indra.com  Mon Oct  4 00:20:14 2004
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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Silk
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At 11:56 PM 10/1/2004 -0700, you wrote:
>I was curious to find out what would be the best type of silk to line a
>linen or velvet bodice or doublet?  What is most comfortable and durable?
>Would you suggest using silk as a lining fabric?  What's the popular
>opinion?
>
>Thanks,
>Becky


Hi Becky,

I used linen for the body linings of the recent velvet doublets that I have 
made for my husband. The linen is white so that it doesn't bleed color onto 
the white linen shirts I made. I made sure to prewash everything, including 
the linens twice, for maximum shrinkage before creation. I made these for 
very hot faires, and they have to deal with the heat and sweat. My husband, 
while hot this weekend in his velvet doublet with base, he was doing better 
than he did before, as the linen helped out better than other lining 
materials I have tried (which has been cotton - ick). The historical 
garments I read up on, mainly from Janet Arnold's books, are lined in 
linen, often with a heavy linen interlining for body/stiffening, so I did 
the same with my husband's.

I however did use silk for the sleeves, so they slip on and off easily. I 
used silk shantung, which was a pretty tight weave and rather strong, or 
strong so far. I am not sure how long shantung will last however, so I do 
suggest a strong weave silk, like twill or maybe even even weave 
broadcloth. The silk linings on the sleeves were in crimson red, because he 
is a nobleman, and the sleeves are meant to be seen as the front seam is 
open with some sort of closures still to be determined. Unfortunately, 
while the sleeves are done, the lacing holes were not finished, so my 
husband didn't get to wear them this weekend.

I will be posting a link to my husband's latest outfits (and dress diaries) 
later this week, once the film from this past weekend's faire has been 
developed.

hth,

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Date: Mon, 04 Oct 2004 09:59:50 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: RE:  [h-cost] Straight-lasted shoes.
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> > I remember visiting the shoemaker's shop at Colonial Williamsburg
> > in, hmm, the mid-1970s, and hearing there that "in the old days" 
> > shoes were straight, not right-left. The advantage to this, they
said,
> > was not 
> > only that they were easier to make, but that you could get more wear

> > from the shoes by alternating which feet you wore them on, on a
daily 
> > basis.
> >
> How would you ever get shoes worn in if you did this?  Wouldn't they 
> just be permanently uncomfortable, never actually moulding to 
> your feet?

Hello Jean,
 
My straight lasted 17th century shoes go on different feet each time I
wear them - they are perfectly comfoprtable but disconcerting to look
down at - they *always* look as if they are on the wrong feet (to the
wearer.  It doesn't appear to look that way to anyone else)

I have to resist the urge to take them off and swap them to the opposite
feet - because it's pointless, they look just as "wrong" that way 'round
too...<g>

Teddy
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Subject: Re: [h-cost] stomacher with birdcoupple
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I have been studying stomachers in the Kyoto volume for inspiration.  The
photos you have to work from are soo much lighter! And as a "heart cover",
the wooing birds in the center is dear.

Kathleen---- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Sunday, October 03, 2004 9:16 AM
Subject: [h-cost] stomacher with birdcoupple


> Hi,
> For Alexias new dress i am going to make this winter season, i have made a
> design for the stomacher. Alexia wanted me to incooperate a little
annimal,
> and i chose a birdcoupple sitting in the middle.
> I would like to invite you to se it.
> Here: http://www.my-drewscostumes.dk/helmspatterns.htm
> It is the second stomacher design.
>
> Bjarne
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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From h-costume-bounces@indra.com  Mon Oct  4 09:43:54 2004
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Subject: [h-cost] Costume Humor
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Ok, I had to share this with an audience that could appreciate it.

We are in the middle our local rennfaire at which my husband is a
member of a stage troupe.  His character is an ex-mercinary turned
roving actor (Capitano in Commedia del Arte).  I made his costumes (2
doublets w/ matching removable sleeves) entirely from leftover scraps,
ie; cabbage, that other costuming friends had given me over the years. 
One is even a patchwork of various brocades.  On Sunday morning as we
were driving out to site it struck me;  He was my Cabbage Patch kid :)
:) :) !

For some reason he didn't think it was quite as funny as I did........

Catherine
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Subject: [h-cost] RE: Straight-lasted shoes.
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>From: Teddy <Teddy@mdx.ac.uk>
>>How would you ever get shoes worn in if you did this?  Wouldn't they
>>just be permanently uncomfortable, never actually moulding to
>>your feet?
>My straight lasted 17th century shoes go on different feet each time I
>wear them - they are perfectly comfoprtable but disconcerting to look
>down at - they *always* look as if they are on the wrong feet (to the
>wearer.  It doesn't appear to look that way to anyone else)
>I have to resist the urge to take them off and swap them to the opposite
>feet - because it's pointless, they look just as "wrong" that way 'round
>too...<g>

As a rule, if you wear a particular straight lasted shoe on one foot 
exclusively, it will shape itself to that foot, with wrinkle patterns and so 
on.  If you switch which foot you wear it on, you will develip wringkle 
patterns in the leather from both feet.

Personally the only time I switch feet is in case of emergency - for 
example, recently at an SCA thing one of my much later period shoes blew out 
some hobnails under the big toe of the right foot (I have no idea how) - and 
the sole sagged, dragging the upper doen onto the big toe (and forming a new 
permanent crease there.  By the end of Saturday morning, I had developed a 
huge blister under the big toe, and wound up swapping shoes just to survive 
the rest of the day - something I couldn't have done with paired last shoes.

Marc

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] 1500/1600 Lace Patterns
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I gave in and bought lace making supplies for both
bobbin and netted filet lace. Now I need patterns to
work from - anyone have suggestions on books to find
ca. 1500-1600 patterns?

Thanks,

Kathy

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From: "Joanna Hobbins" <joanna.hobbins@mail.mcgill.ca>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 1500/1600 Lace Patterns
Date: Mon, 4 Oct 2004 12:59:27 -0400
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You should check out the Digital Archive of Documents on Weaving, Textiles,
Lace, and Related Topics.

http://www.cs.arizona.edu/patterns/weaving/index.html

They have thousands of OOP books, pamphlets, articles on pretty much
everything related to textiles available as PDF files.

I would suggest using their topic lists first.

http://www.cs.arizona.edu/patterns/weaving/topic_lace.html

Cheers,

Joanna

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kathy Page
Sent: Monday, October 04, 2004 12:35 PM
To: Historical Costume List
Subject: [h-cost] 1500/1600 Lace Patterns


I gave in and bought lace making supplies for both
bobbin and netted filet lace. Now I need patterns to
work from - anyone have suggestions on books to find
ca. 1500-1600 patterns?

Thanks,

Kathy

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Subject: [h-cost] Bird Couple Stomacher
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Bjarne,

as usual, an adorable design. I love birds. Where did
you get the specific bird design, or is it your own. I
don't recognize the type of birds in the picture, so I
was wondering if it's some artist's conception of a
type of bird, or some real bird that's been stylized
(is that a word?) for this embroidery.

Thanks for the continued inspiration.

Cynthia


		
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Subject: [h-cost] Gothic Fitted Dress and lack of uniboob
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Hello all,

I have a question.  Has anyone out there ever done a fitting on someone who doesn't have enough, um, chest to achieve the uniboob look?  I tried fitting one on myself. It ended up being a cross between the straight front and curved front because the initial fitting was done with a straight front and then I just _couldn't_ get it to look right so I did the front seam by myself to achieve the right-ish look.

However, here's my question. No matter WHAT I did, I could not get my breasts up and together without making the pull on my back uncomfortable. I ended up just pushing the mass (in Robin's terms) up and calling it good.  I wear a 42A, so I think the relative broadness of my rib cage vs. the size made it difficult to acheive the right look.

So, was there someplace I should be compressing harder?  What have other people done in those circumstances? Or am I just not the right "Gothic super-model" type?
    --Kathy K.


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Greetings!  What an great question!  I was watching the BBC "what not to wear" show one day and they had a gal on with virtually no tits whatsoever!  So, what they had were what looked like silicone inserts that she would put into her bras.  Maybe someone on the list can remember what the things were actually called or perhaps the BBC webpage might have information about that particular episode on their web page.

But it really gave her a bosum, and maybe this could help you get the look you are aiming for?  

Good luck!

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 
Emer's Needle Wares

-------------- Original message -------------- 

> Hello all, 
> 
> I have a question. Has anyone out there ever done a fitting on someone who 
> doesn't have enough, um, chest to achieve the uniboob look? I tried fitting one 
> on myself. It ended up being a cross between the straight front and curved front 
> because the initial fitting was done with a straight front and then I just 
> _couldn't_ get it to look right so I did the front seam by myself to achieve the 
> right-ish look. 
> 
> However, here's my question. No matter WHAT I did, I could not get my breasts up 
> and together without making the pull on my back uncomfortable. I ended up just 
> pushing the mass (in Robin's terms) up and calling it good. I wear a 42A, so I 
> think the relative broadness of my rib cage vs. the size made it difficult to 
> acheive the right look. 
> 
> So, was there someplace I should be compressing harder? What have other people 
> done in those circumstances? Or am I just not the right "Gothic super-model" 
> type? 
> --Kathy K. 
> 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 1500/1600 Lace Patterns
Date: Mon, 4 Oct 2004 20:36:25 +0200
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Dear Kathy,
If you would like, i have some bobbin lace patterns reconstrukted from old
laces at a royal burrial in Roskilde Cathedral. The find was from 1615ies,
but the laces was sitting on old garments wich was older.
I can email them if you want me to.

Bjarne


----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: "Historical Costume List" <h-costume@net.indra.com>
Sent: Monday, October 04, 2004 6:35 PM
Subject: [h-cost] 1500/1600 Lace Patterns


> I gave in and bought lace making supplies for both
> bobbin and netted filet lace. Now I need patterns to
> work from - anyone have suggestions on books to find
> ca. 1500-1600 patterns?
>
> Thanks,
>
> Kathy
>
> ______________________________________________________________________
> Post your free ad now! http://personals.yahoo.ca
> _______________________________________________
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Date: Mon, 4 Oct 2004 13:58:37 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Gothic Fitted Dress and lack of uniboob
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On Mon, 4 Oct 2004 kathysmassmail@verizon.net wrote:

> I have a question.  Has anyone out there ever done a fitting on
> someone who doesn't have enough, um, chest to achieve the uniboob
> look?  I tried fitting one on myself. It ended up being a cross
> between the straight front and curved front because the initial
> fitting was done with a straight front and then I just _couldn't_ get
> it to look right so I did the front seam by myself to achieve the
> right-ish look.
> 
> However, here's my question. No matter WHAT I did, I could not get my
> breasts up and together without making the pull on my back
> uncomfortable. I ended up just pushing the mass (in Robin's terms) up
> and calling it good.  I wear a 42A, so I think the relative broadness
> of my rib cage vs. the size made it difficult to acheive the right
> look.

The breasts don't have to be pushed together.  If they're small, you'll
see separation of the two resulting mounds. You see that in some period
illustrations, too -- it's not a problem.

"Up" is the operative word. You want the pressure on the underside of the
bosom, which plumps up the top of the each breast. This is the same thing
that the Wonderbra inserts do -- they shift the internal mass upwards.
This gives even a small-built woman noticeable "mounds" and cleavage (and
I've seen some very surprised women who have never had this before I fit
them!).

As for the front seam, I sometimes use a curve in the front to add
projection for a woman who is small-busted. However, it's not a curve of
the type Tasha uses. Mine is more like a parenthesis -- ( -- with the
tightest part at the ribcage to define the high waist, and then sloping
outward below to allow belly swell, which accentuates the in-and-out
shape. The funnel-expansion at the top allows the breasts to move a bit
more forward in front, and less to the sides. (This is NOT desirable in a
larger-busted woman. When I last tried a curved front on myself, I saw my
breasts drop to about my knees...) Note that the curve does not then bow
back in at the neck -- it just goes out. This is for a neckline that's cut
in a (visually) rather low scoop. For a higher-necked dress (say,
1350-1380) you do want a more flattened, columnar look and less
projection.

--Robin



> 
> So, was there someplace I should be compressing harder?  What have other people done in those circumstances? Or am I just not the right "Gothic super-model" type?
>     --Kathy K.
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


==========================================================
Robin Netherton // Editor at Large
robin@nightowl.net
voice: (314) 439-1222 // fax: (314) 439-1333
Life is just a bowl of queries.

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From h-costume-bounces@indra.com  Mon Oct  4 14:56:02 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I have a good idea for all of you. Go to this site:
http://www.cse.unsw.edu.au/~geoffo/humour/flattery.html
Type in your name and see what happens

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  Mon Oct  4 14:58:08 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Bird Couple Stomacher
Date: Mon, 4 Oct 2004 20:57:07 +0200
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Hi Cynthia,
The birds are just imagination, but they reminds me a little of some birds
who visits Denmark in the winter. They comes from the colder Norway and
Sweden to eat all the berries on bushes. Their name is Silkehale, wich can
be translated to silktails.

Bjarne


----- Original Message ----- 
From: "Ms Cynthia Schrage" <pioneercynthia@yahoo.com>
To: <h-costume@indra.com>
Sent: Monday, October 04, 2004 7:31 PM
Subject: [h-cost] Bird Couple Stomacher


> Bjarne,
>
> as usual, an adorable design. I love birds. Where did
> you get the specific bird design, or is it your own. I
> don't recognize the type of birds in the picture, so I
> was wondering if it's some artist's conception of a
> type of bird, or some real bird that's been stylized
> (is that a word?) for this embroidery.
>
> Thanks for the continued inspiration.
>
> Cynthia
>
>
>
> __________________________________
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Date: Mon, 04 Oct 2004 15:29:13 -0400
Subject: Re: [h-cost] 1500/1600 Lace Patterns
From: ruthanne baumgartner <ruthanneb@mindspring.com>
To: Historical Costume <h-costume@indra.com>
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Dear Bjarne,
I didn't ask, but I'd certainly be grateful if you e-mailed such patterns to
me. I did bobbin lacemaking for several years awhile back and have thought
about returning to it--this might be the inspiration I need!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer


on 10/4/04 2:36 PM, Bjarne og Leif Drews at drewscph@post12.tele.dk wrote:

> Dear Kathy,
> If you would like, i have some bobbin lace patterns reconstrukted from old
> laces at a royal burrial in Roskilde Cathedral. The find was from 1615ies,
> but the laces was sitting on old garments wich was older.
> I can email them if you want me to.
> 
> Bjarne
> 
> 
> -

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Hi! 

I should love to see the fabric and see if it inspires me :-) -- I live in Redwood City (and I expect you know my mother -- Teleri Tawel in the SCA? Pardon me if I've mixed your name up with someone else's'!) so we could probably work something out... I don't particularly have a place to wear it, but I do have the panniers and a hat for that period already (the accessories demand an outfit ;-) One of those "I'll have to make an outfit someday, I can't resist the accessories!"), and my current measurements are within the range you list - though I am an inch taller -- I can't remember, is the Sack dress in Waugh from one of the short periods (i.e. ankle lenght) or is it instep-length? Also your challenge would be a lovely excuse to make myself finish the project :-).
	I'm rambling, sorry :-) Thanks for considering me,
		-sunny

> ------------------------------
> 
> Message: 13
> Date: Sun, 3 Oct 2004 10:59:37 -0700
> From: Heather Rose Jones <heather.jones@earthlink.net>
> Subject: [h-cost] ca. 1750 sack dress -- Unfinished Project Free to
> 	Good Home
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <a06020419bd85de31818a@[10.0.1.2]>
> Content-Type: text/plain; charset="us-ascii" ; format="flowed"
> 
> (NOTE:  Please send "dibs!" messages directly to me -- not to 
> the list.)
> 
> First a little story ...
> 
> Once upon a time, a little over 20 years ago, I was fresh out of 
> college and job-hunting, and while I was suspended in that state of 
> no income, I wandered into a fabric store (mistake, of course) and 
> saw this beautiful bolt of fabric.  It was a 100% cotton damask, in a 
> sort of mossy pea-green, with 2"-wide stripes and sprigs of 
> lily-of-the-valley (all done as a damask weave effect -- solid 
> color).  I fell in love with the fabric and felt that it desperately 
> wanted to be a mid/late 18th century gown ... never mind the fact 
> that I had and have absolutely no excuses to wear 18th century gowns.
> 
> But I was in love (with the fabric) so logic went out the window, and 
> I told myself that if the fabric was still there in the store when I 
> got a job, I'd buy it to celebrate.  Well, it was; and I did.  And in 
> my usual can't-wait-to-get-started fashion, I started putting the 
> gown together before I'd done anything sensible like making 
> underpinnings.  So I got to the point where I couldn't go any further 
> without coming up with a corset and panniers and I set it aside until 
> I'd gotten around to doing that part.
> 
> Twenty years pass.
> 
> Well, not only did I never get around to making the underpinnings 
> (which may have had something to do with never having had an 
> excuse/deadline for finishing the dress), but there's a reasonably 
> good chance I'll never be the same size and shape I was when I 
> drafted the dress.  And being in the middle of completely 
> re-organizing my sewing space, I decided it was time to find a good 
> home for what is still one of my most gorgeous pieces of fabric I 
> ever bought.  So I would like to offer up this project and all the 
> accompanying materials FREE to someone who:
> 
> 1) Will finish it.
> 2) Will wear it (or finish it for someone else who will wear it).
> 3) Will send me pictures.
> 
> Here are some specifics:
> 
> I took the pattern from Norah Waugh's "The Cut of Women's Clothes 
> 1600-1930" from Diagram XV "Sack Dress 1740-50, London Museum". 
> Comparing the pattern pieces I drafted with the scale of the 
> original, I appear to have drafted it up to roughly the same scale as 
> the original (which might not have been a good idea, but it makes it 
> easier to communicate the size).  Because the style of gown doesn't 
> close completely in front, the potential waist measurement is 
> variable, looks like 32-34"; similarly it looks like it could be a 
> 40-42" bust.  I'm 5'4" and the height is just about right at the 
> front skirt, so it wouldn't really work for anyone taller.  (The back 
> has a slight train.)
> 
> I offer no warranty that the fabrics involved are precisely 
> historically accurate for the style of dress.  The choice was an 
> esthetic one at a time when I was less knowledgeable (and I'm still 
> vastly ignorant about this time period, so I won't offer any opinion 
> now either).
> 
> The sewing done on it so far is passable but not professional.  The 
> gown is assembled but not hemmed and the eyelets in the back lining 
> haven't been done yet, so if you wanted to unpick the seams and start 
> over, it wouldn't be impossible.  It needs more boning than I've 
> currently put into it.  The lining is a pale yellow slightly glazed 
> cotton.
> 
> Accompanying items:
> 
> - the remaining "cabbage" from the main fabric
> 
> - 1 1/2 spools of matching thread
> 
> - 5 1/2 yards (45") slightly glossy medium-weight cotton twill in the 
> same color as the main fabric (essentially: the same as the main 
> fabric but without the woven designs), intended for the underskirt 
> and stomacher, but never cut
> 
> - a card of ca. 20-30 yards of pale yellow machine lace edging (2" 
> wide), no particular use intended, but it matched the color scheme 
> and I was waiting for inspiration
> 
> - a piece of much nicer ecru machine lace, 24" high by 60" wide, with 
> a wide border design along the bottom edge; I'd meant to look into 
> whether this style of dress might have had a lace flounce on the 
> underskirt
> 
> - 5 yards of 1/2" wide green ... um ... not sure what the technical 
> term would be, "trim", the sort of thing you might use in upholstery; 
> the color matched the main fabric, and it looked like it might be 
> appropriate to use somewhere
> 
> Also available if desired: my scaled-up pattern, done on newsprint 
> (which confirms that I started this project in June 1983).
> 
> The fabric is all in good condition and has been stored out of the 
> light.  Slightly rumpled and creased, but no fading.  There are a few 
> slight stains along the bottom edge (which may end up being removed 
> when hemming anyway) from an incident involving a leaky roof and a 
> damp carpet in the closet.
> 
> I will cheerfully pack this all up and ship it to the person who 
> convinces me that they will lovingly finish it and wear it and send 
> me pictures of them doing so.  (I.e., this offer is _not_ "first 
> come, first served".)  If you live in the US, I'll even spring for 
> the UPS costs -- if you live out of the US, then we'll have to 
> negotiate.  If you're reasonably local to the San Francisco Bay Area 
> and want to take a look first, that's possible.
> 
> PLEASE: Send expressions of interest directly to me, not to the list. 
> Not that there aren't any number of list-appropriate threads that 
> could take off from the topic ....
> 
> Heather
> heather.jones@earthlink.net
> -- 
> ****
> Heather Rose Jones
> heather.jones@earthlink.net
> ****
> 
> 
> ------------------------------
> 
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> 
> 
> End of h-costume Digest, Vol 3, Issue 796
> *****************************************
> 

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Sorry for my last e-mail. I thought I'd changed the "To" line before I sent it, but I hadn't. Mea Culpa!
	-sunny 

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  :-)  :-)  :-)
I really needed that! :-)



Bjarne og Leif Drews wrote:

>Hi,
>I have a good idea for all of you. Go to this site:
>http://www.cse.unsw.edu.au/~geoffo/humour/flattery.html
>Type in your name and see what happens
>
>Bjarne
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
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>  
>

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> The breasts don't have to be pushed together. 

This makes me feel _much_ better.

>"Up" is the operative word. You want the pressure on the underside of th bosom, which plumps up the top of the each breast.

Yes, this I got too. I mostly made it really tight on the bottom so that nothing would slip "through" so to speak.

> As for the front seam, I sometimes use a curve in the front to add
> projection for a woman who is small-busted. However, it's not a curve of
> the type Tasha uses. Mine is more like a parenthesis -- ( -- 

Oh! I feel so much better! This is EXACTLY what my fitting looks like!  I was feeling like a total loser because my curve goes inwards rather than out but then I realized that the mass was accommodated for with an smallish bulge underneath the armhole.

Although, I think in this case the inverted curve was that I needed to take it in where there wasn't any mass. I never had to futz with the back seam. That went together perfectly.

One thing I will say is that, except for the problems fitting my chest, the straight-front method is really, really easy. I've had both done: a curved front and a straight front and where the curved front took an hour, the straight front took 20 minutes. (Then 20 more minutes futzing with the front...)

Thank you so much! I'm so relieved that I got what I was supposed to get.
        --Kathy K.


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Subject: Re: Re: [h-cost] Gothic Fitted Dress and lack of uniboob
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> Greetings!  What an great question!  I was watching the BBC "what not to wear" show one day and they had a gal on with virtually no tits whatsoever! 

You know, it's interesting. I do have a chest. I think it's just that the barrel of my chest is so broad that I couldn't push them together. Too much space in between? I know that I always have to get clothing in a large size and take it in at the waist to get shirts to fit my shoulders. 

Ah, the joy of standardized fitting!
           --Kathy K.


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: Re: [h-cost] Gothic Fitted Dress and lack of uniboob
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On Mon, 4 Oct 2004 kathysmassmail@verizon.net wrote:

> > As for the front seam, I sometimes use a curve in the front to add
> > projection for a woman who is small-busted. However, it's not a curve of
> > the type Tasha uses. Mine is more like a parenthesis -- ( -- 
> 
> Oh! I feel so much better! This is EXACTLY what my fitting looks like!  
> I was feeling like a total loser because my curve goes inwards rather
> than out but then I realized that the mass was accommodated for with
> an smallish bulge underneath the armhole.

Next time, you can see if you can flatten out that bulge (and shift more
of that side mass forward) by applying some selective pressure at the side
front. Take out a vertical triangular wedge of fabric from the side front
about an inch wide and three or four inches deep. This comes off the front
piece only, so it moves the back piece forward a bit under the arm. This
will smooth out the bulge and also take out any ripple at the bottom of
the armhole. Probably too late to do now, though, because you need to do
it before you finalize the armhole. Still, I've found that step essential
for larger-busted women; I'm not sure if it would have the same effect on
a small-busted woman (I usually make the decision case-by-case, and I
can't remember if I've had to use this regularly in those cases).

> Although, I think in this case the inverted curve was that I needed to
> take it in where there wasn't any mass. I never had to futz with the
> back seam. That went together perfectly.

Good. I always start with the back seam, because the back isn't so
malleable. If you get the back seam right, you have an "anchor" for the
rest of the fitting, when you're moving things around.

> One thing I will say is that, except for the problems fitting my
> chest, the straight-front method is really, really easy. I've had both
> done: a curved front and a straight front and where the curved front
> took an hour, the straight front took 20 minutes. (Then 20 more
> minutes futzing with the front...)

I find the straight front easier for several reasons, another one being
that most of the high-pressure lacing holes are on grain and less likely
to ripple and gap.

> Thank you so much! I'm so relieved that I got what I was supposed to get.

Well, it's all speculation. You got something that I would have gotten,
but whether that's what we're "supposed" to get ... we can only make
educated guesses about what someone in period might have done to achieve
the shape. I think, though that if you feel supported and comfortable,
your figure looks period, and your posture shifts the right way, we can
say it's a reasonable and logical guess.

--Robin

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Subject: [h-cost] Renaissance costuming dilemma
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Hi all,

I am hoping some of you can help me with a personal costuming dilemma.

I attended my favorite Renaissance faire this past weekend, and came away 
with my eyes opened, and strong disgust for what I saw. What was so bad you 
may ask? The realization that faire costumes have only a passing 
resemblance to the historical portraits and actual surviving costumes I 
have learned so much about. I could go on into details, but the list is 
rather long.

I have learned a lot in the past couple of years, mainly from you the list 
members, actually looking at period portraits (as taught by this list) and 
recent classes at Costume College. I want to say "thank you, for teaching 
me so much about historical garments" and "I hate you, because now I cannot 
go back to simply accepting what is" to this list, but "thank you" is much 
more appropriate.

So, my dilemma. Is there any way to help the faire people improve the 
costumes being worn, especially by the nobles, or should I just hang it up 
and move on in my life and improving my own skills only? I am part of a 
nobles guild, and I am friends with the gentleman who plays the King, so I 
am thinking maybe there is a chance of changing things. I have also just 
started a costuming group that currently is filled with renaissance 
members, so maybe I can have an influence there. But I also do not want to 
beat my head against a stone wall, for I have done that on other things 
before, and I hate when my head hurts.

Any thoughts and suggestions?

Thanks for any thoughts, and thanks again to you all for teaching me so 
much about historical garments. Really, thanks.

Kimiko
Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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From: "E House" <formfunc@formfunction.org>
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Subject: [h-cost] fur-lined dress
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Excited!! I just ordered enough of a lovely Toscana lambskin w/very thin
leather backing for this gown (and perhaps trim on a few other gowns):
http://www.formfunction.org/temp/1495-1515Francecrop.jpg (the woman in red)

The fur's color is different; it'll be a naturalish sort of dark reddish
brown. Since the darker colored furs were more fashionable at this time, I
think I'm going to dress up the gown a bit more than the one shown in this
specific illumination. This illumination is the one that pushed me over the
edge into making the gown, but there are dozens of other inspirational
illustrations of basically the same style; the only thing exceptional about
this one is the split at the front, which is unusual but not unheard of this
early in the century.

The problem is that I'm sort of stalled when it comes to thinking of ways to
fancy it up. I'm aiming for a target date of 1510-15 for the gown, but most
of the fancier, stereotypically 'Tudor' elements are yet to come at that
date. Since I'm blowing all my money on the fur lining, I can't use the main
fancying method of the time, namely expensive fabric; I'll be using a solid
burgundy ribbed silk w/linen weft. I'm not sure exactly how yet, but I'll be
working some black details into the outfit, so the overall color scheme will
be muted lightish burgundy, dark reddish brown, and black.

>From what I've seen, embroidery wasn't really used that much on outer gowns
at this time, at least not in any ways that seem suitable. I could pearl it
like Mary Tudor's black gown, but again with the money; I might be able to
stand glass pearls from an authentic standpoint, but even with those the
cost might add up pretty fast. Nifty little metal mounts might work, but
wouldn't satisfy me by themselves; other than that, about the only thing I
can think of is trim or ribbon. I'd like to use only authentic materials in
this, though, so the trim is almost certainly out, and that much silk ribbon
gets expensive, even ordering from JKM! Ideally, I'd like to find something
that doesn't cost much in materials, but can be made to look very nice with
the application of enough elbow grease. Embroidery would be good, if only I
could find some suitable application of it!

Any ideas, keeping in mind that I'm going for the most authenticity possible
within my budget of around $40ish? (Uy. All together, the materials of this
outfit are going to be ~$750. I really don't want to mess this up!)

-E House

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Date: Mon, 04 Oct 2004 15:50:23 -0700
Subject: Re: [h-cost] Renaissance costuming dilemma
From: Lynn Downward <ldownward@chori.org>
To: h costume <h-costume@indra.com>
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Status: RO

Which one did you go to that upset you so much? Hanford? The samll faires
are the hardest to keep accurate, especially since the REC fairs don't focus
on history or accuracy anymore.

You've got a great many things going for your change. You have the ear of
the king; even as an actor not a real king, he'll lead fashion because he's
the most visible in a very visible group. If you're part of a guild, you can
carefully change things from the inside, especially by offering a
well-placed, well-spoken hint here and there. Any costuming group you start
has your research available to it; that will help in a couple of year's
time. Please remember that these outfits are expensive. I know very few
people who can afford to rekit themselves yearly. It may take several years
for the newest costumes to get up to snuff.

Be patient, delicate and subtle and you'll raise the bar year after year.
After all, look how long it took even you to realize the need for
improvement.

Best wishes,
LynnD



> From: Kimiko Small <kimiko@kimiko1.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Mon, 04 Oct 2004 15:27:38 -0700
> To: <h-costume@indra.com>
> Subject: [h-cost] Renaissance costuming dilemma
> 
> Hi all,
> 
> I am hoping some of you can help me with a personal costuming dilemma.
> 
> I attended my favorite Renaissance faire this past weekend, and came away
> with my eyes opened, and strong disgust for what I saw. What was so bad you
> may ask? The realization that faire costumes have only a passing
> resemblance to the historical portraits and actual surviving costumes I
> have learned so much about. I could go on into details, but the list is
> rather long.
> 
> I have learned a lot in the past couple of years, mainly from you the list
> members, actually looking at period portraits (as taught by this list) and
> recent classes at Costume College. I want to say "thank you, for teaching
> me so much about historical garments" and "I hate you, because now I cannot
> go back to simply accepting what is" to this list, but "thank you" is much
> more appropriate.
> 
> So, my dilemma. Is there any way to help the faire people improve the
> costumes being worn, especially by the nobles, or should I just hang it up
> and move on in my life and improving my own skills only? I am part of a
> nobles guild, and I am friends with the gentleman who plays the King, so I
> am thinking maybe there is a chance of changing things. I have also just
> started a costuming group that currently is filled with renaissance
> members, so maybe I can have an influence there. But I also do not want to
> beat my head against a stone wall, for I have done that on other things
> before, and I hate when my head hurts.
> 
> Any thoughts and suggestions?
> 
> Thanks for any thoughts, and thanks again to you all for teaching me so
> much about historical garments. Really, thanks.
> 
> Kimiko
> Kimiko Small
> Owner ~ DreamTime Studios
> http://www.dreamtime-studios.com
> Fresno, CA, USA
> 
> "When there is fear, there is no creativity" ~ C. Lowell
> 
> _______________________________________________
> 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 Oct  4 18:54:04 2004
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Subject: Re: [h-cost] Renaissance costuming dilemma
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My advice to you is to lead by example. Sometimes people think that authenticity=dull, but if you begin making really fab clothes that are both period and great looking, many people will come around to your way of thinking. You won't convince everybody and you will make more ememies than friends by brow beating. Unless you are given some sort of official costume position, all you can do is dress yourself wonderfully, share information and resources with anyone who is interested, and praise the people who try to do it right. 


What faire do you go too? 


Karen
(Official Bristol Escapee)

-- Kimiko Small <kimiko@kimiko1.com> wrote:
Hi all,

I am hoping some of you can help me with a personal costuming dilemma.

I attended my favorite Renaissance faire this past weekend, and came away 
with my eyes opened, and strong disgust for what I saw. What was so bad you 
may ask? The realization that faire costumes have only a passing 
resemblance to the historical portraits and actual surviving costumes I 
have learned so much about. I could go on into details, but the list is 
rather long.

I have learned a lot in the past couple of years, mainly from you the list 
members, actually looking at period portraits (as taught by this list) and 
recent classes at Costume College. I want to say "thank you, for teaching 
me so much about historical garments" and "I hate you, because now I cannot 
go back to simply accepting what is" to this list, but "thank you" is much 
more appropriate.

So, my dilemma. Is there any way to help the faire people improve the 
costumes being worn, especially by the nobles, or should I just hang it up 
and move on in my life and improving my own skills only? I am part of a 
nobles guild, and I am friends with the gentleman who plays the King, so I 
am thinking maybe there is a chance of changing things. I have also just 
started a costuming group that currently is filled with renaissance 
members, so maybe I can have an influence there. But I also do not want to 
beat my head against a stone wall, for I have done that on other things 
before, and I hate when my head hurts.

Any thoughts and suggestions?

Thanks for any thoughts, and thanks again to you all for teaching me so 
much about historical garments. Really, thanks.

Kimiko
Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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From h-costume-bounces@indra.com  Mon Oct  4 19:02:55 2004
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Subject: Re: [h-cost] Renaissance costuming dilemma
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Status: RO

Pardon me for playing devil's advocate, but are you sure they would
recognize these really fab clothing as _being_ authentic? Might that not be
at least part of the problem? Unless you get the opportunity to tell each
and every person who sees you in that costume, "Hey! Doesn't this dress look
fab? Guess what? It's accurate, too!" then the key part of the message would
be lost, wouldn't it?

Not suggesting a solution here, just nit-picking others who are more helpful
than I! =} Personally, I'd just natter about authenticity until it started
feeling like I was beating my head against a wall, and then give up rather
than going through any actual effort. Or treat the assumption that
authenticity is key as though it were so basic that naturally everyone is
interested in it, and begin talking about documentation type stuff whenever
anyone so much as looks twice at something I'm wearing...

-E House
(maybe this is why I haven't gotten around to finding costumey groups to
hang out with. I don't snark though, honest!)

----- Original Message ----- 
From: <seamstrix@juno.com>
> My advice to you is to lead by example. Sometimes people think that
authenticity=dull, but if you begin making really fab clothes that are both
period and great looking, many people will come around to your way of
thinking. You won't convince everybody and you will make more ememies than
friends by brow beating. Unless you are given some sort of official costume
position, all you can do is dress yourself wonderfully, share information
and resources with anyone who is interested, and praise the people who try
to do it right.

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From h-costume-bounces@indra.com  Mon Oct  4 19:13:34 2004
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Subject: Re: [h-cost] RE: h-costume Digest, Vol 3, Issue 791
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> Turns out that "switching them every day" thing is pure myth -- your
> suspicion that they'd just never be comfortable is accurate. In
examinations
> of archaeological finds of straight-lasted shoes it is apparent that they
> were earmarked for one foot or the other and broken in to suit just one
> foot, left or right.

It's not historical evidence, but it's interesting to note that this is
still done today with straight shoes today, such as ballet slippers and
pointes. We used to mark them with a ball point pen on the sole to make sure
we'd always put them on the right foot, so they could adapt to the shape of
the foot they were usually worn on.
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Status: RO

> So, my dilemma. Is there any way to help the faire people improve the
> costumes being worn, especially by the nobles, or should I just hang it up
> and move on in my life and improving my own skills only? I am part of a
> nobles guild, and I am friends with the gentleman who plays the King, so I
> am thinking maybe there is a chance of changing things. I have also just
> started a costuming group that currently is filled with renaissance
> members, so maybe I can have an influence there. But I also do not want to
> beat my head against a stone wall, for I have done that on other things
> before, and I hate when my head hurts.

Seems to me like you're on the right track.

I'll tell you my own story.

I joined the SCA 4 years ago. The first event I attended, I felt bad because
I was wearing one of my old Halloween costumes... but realized most people
weren't wearing anything better. But the few really amazing dresses were
enough to impress me. Sadly, I rarely think they're that amazing anymore.

After four years, I still attend even the most basic costuming workshop (you
never know what you'll learn). I take care to examine what everyone is
wearing, paying extra attention to the ones I like, and I just glance over
the awful ones. Look the other way. I make a point of telling those people
who have great clothing that I admire what they are wearing. I try to make
the best for myself, and take extra care of those who come to me for
advice - those coming for advice are the most precious future costumers,
because they do care. And I talk with other costumers when they make
something new. Gather information, show interest. We don't have a guild, but
we know who the other costumers are, that way we can help each other.

Mostly, I've learned to look the other way when I see something awful.
Except at Pennsic - that's such a different planet, you just can't help
looking at the bad garb and trying to categorize it! (Per "Claus' Guide to
Bad Garb" categories: 1-The Middle Ages but not of this planet; 2-Not enoug
fabric for body type; 3-Obtrusively modern body decoration; 4-Fabric and/or
color not found in nature; 5-I'm too important for my garb; 6-Underwear is
not garb; 7-Half and outfit is better than none; 8-I dream of Jeannie... and
so many others)

But, in the end, I don't feel like educating the whole planet. I make
clothing for myself, and I do like helping people who ask for advice, but
I'm not the dedicated type.

I hope at least you don't feel so alone. You're not the only one facing this
dilemma.
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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That would be absolutely delightful Bjarne, thank you.
If you have more detail on the burial and the clothing
they found it on, more is the better! The Patterns
though are a start - it'll be a while before I can
produce anything really recognisable. :-) May as well
begin with the old patterns right from the start.

Kathy

> From: "Bjarne og Leif Drews"
> Dear Kathy,
> If you would like, i have some bobbin lace patterns
> reconstrukted from old
> laces at a royal burrial in Roskilde Cathedral. The
> find was from 1615ies,
> but the laces was sitting on old garments wich was
> older.
> I can email them if you want me to.
> 
> Bjarne


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Thanks so much for your suggestion. I'll big around
and see what I can find.

Kathy

> From: "Joanna Hobbins"
> You should check out the Digital Archive of
> Documents on Weaving, Textiles,
> Lace, and Related Topics.
> 
>
http://www.cs.arizona.edu/patterns/weaving/index.html
> 
> They have thousands of OOP books, pamphlets,
> articles on pretty much
> everything related to textiles available as PDF
> files.
> 
> I would suggest using their topic lists first.
> 
>
http://www.cs.arizona.edu/patterns/weaving/topic_lace.html
> 
> Cheers,
> 
> Joanna


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Subject: Re: [h-cost] Renaissance costuming dilemma
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Hi E House,

At 06:02 PM 10/4/2004 -0500, you wrote:
>Pardon me for playing devil's advocate, but are you sure they would
>recognize these really fab clothing as _being_ authentic? Might that not be
>at least part of the problem?


Thanks for making this comment. After working on my husband's tudor doublet 
and base, in what I believe was a period fashion as based on portraits and 
an actual garment, my husband called it a "maternity dress" because of the 
fullness of the base skirt. I know he knows that I put in hard work on it. 
I know he knows that he wasn't saying something to hurt me, but that is 
what it looked like to him. If that is what it looks like to him, what does 
it look like to those who don't know better?

 > Or treat the assumption that
 > authenticity is key as though it were so basic that naturally everyone is
 > interested in it, and begin talking about documentation type stuff whenever
 > anyone so much as looks twice at something I'm wearing...

People are apparently not interested in documentation, unless the guild 
master/mistress pushed documentation. A friend of mine, now guild master in 
his own right, does push for documentation and authenticity for his Irish 
kerns, and I really like how they look. There are other guilds wearing 
documentable garments, and I recognize them right away as such. Then there 
are the majority that it feels like pulling teeth just to get them to 
follow the most basic costuming guidelines.

After pondering here a bit, I think I will push for documentation, at least 
amongst those I can influence in some manner. Maybe then when people do the 
research into a portrait or particular style, it might stick and they might 
start looking at things in a different manner. After all, that's what this 
list has helped me to do.

Thanks for playing devil's advocate. You have given me more to think about.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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At 10:45 PM 10/4/2004 +0000, you wrote:
>My advice to you is to lead by example. Sometimes people think that 
>authenticity=dull, but if you begin making really fab 
>clot 
>hesthatarebothperiodandgreatlooking,manypeoplewillcomearoundtoyourwayofthinking.Youwon't 
>convince everybody and you will make more ememies than friends by brow 
>beating. Unless you are given some sort of official costume position, all 
>you can do is dress yourself wonderfully, share information and resources 
>with anyone who is interested, and praise the people who try to do it right.
>
>
>What faire do you go too?
>
>
>Karen
>(Official Bristol Escapee)


Hi Karen

I go to several Central California renaissance faires, which are small in 
size and only for a weekend. The larger events are several hours drive from 
me, so I usually only attend those about once a year, if that. The faire I 
was troubled by is Hanford Renaissance of Kings.

And I like your suggestions, especially the suggestion "make more ememies 
than friends by brow beating". I don't want to be a "costume nazi", but ... 
but. Is there a "but" to that? I have really come around to the realization 
that we can talk about improving faire, but for all the talk of improvement 
in different aspects of faire, I have seen little real results. Historical 
costuming is my area to deal with, but it is more than just costumes.

However, for all that talk, I do think that leading by examples would be 
the best way to improve our historical garments.

Thanks Karen for your insight.

Kimiko


Kimiko Small
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"When there is fear, there is no creativity" ~ C. Lowell

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At 07:19 PM 10/4/2004 -0400, you wrote:
>I hope at least you don't feel so alone. You're not the only one facing this
>dilemma.

Hi Audrey,

Thank you for sharing your story. It does help to know I am not alone in 
this perspective.

<< Per "Claus' Guide to Bad Garb" categories >>
Do you have a link to this guide? I would love to see it.

Kimiko


Kimiko Small
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Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Renaissance costuming dilemma
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Hi LynnD

At 03:50 PM 10/4/2004 -0700, you wrote:
>Which one did you go to that upset you so much? Hanford? The samll faires
>are the hardest to keep accurate, especially since the REC fairs don't focus
>on history or accuracy anymore.

Yes, it was Hanford Renaissance of Kings, in Hanford California (south of 
Fresno, CA) for those not in California.

I did that faire, or attended that faire, since 1987. I used to be a board 
member, and even was Entertainment co-chair with the guy who plays the King 
in '98. Now the board is four people only, and things have gone downhill. I 
would rather they call it a fantasy faire or a middle eastern bazaar, 
because that is what it looks like anymore, especially with many of the 
vendors they had. I even have a nice troll costume I could finish in time 
for next year's event if they went fantasy.

>You've got a great many things going for your change. You have the ear of
>the king; even as an actor not a real king, he'll lead fashion because he's
>the most visible in a very visible group.

MMmmm... Michael, the actor who plays the King, can really only control his 
own group. They have really come up in appearances this year, but he can't 
help out with those in the other court groups who only spend time walking 
in procession or at the noon stage show. Michael has always had outstanding 
garments which both he and his partner sew themselves.,But he actually 
prefers the theatrical look over the historical, which disappointed me. But 
I think we can still talk and maybe work on improving by his example.

>If you're part of a guild, you can
>carefully change things from the inside, especially by offering a
>well-placed, well-spoken hint here and there.

I have tried that for a year now, and they aren't budging much. Our 
guildmistress prefers zippers hidden behind plackets, and snap in sleeves 
or epaulettes, to switch between Elizabethan and Henry style garments. Our 
members are following her lead, despite the fact I am supposedly the 
guild's costume mistress. However, my hint on using linen instead of cotton 
is starting to take a hold.

>Any costuming group you start
>has your research available to it; that will help in a couple of year's
>time.

Very true, and we are just starting things.

>Please remember that these outfits are expensive. I know very few
>people who can afford to rekit themselves yearly. It may take several years
>for the newest costumes to get up to snuff.

Very true as well, to a point. Some of the problems I saw, like silver 
yardage lace for French hoods can easily and cheaply be replaced with black 
material. However, was she ever told lace yardage is not appropriate? She 
wasn't the only one who wears lace hoods. And one lady is still wearing a 
large black mu mu like garment, which she knows is not appropriate. 
However, this is her second year wearing it, and we have already talked 
last year on how to create her next outfit.

>Be patient, delicate and subtle and you'll raise the bar year after year.
>After all, look how long it took even you to realize the need for
>improvement.

Very, very true. Thank you for this reminder. I just have difficulties 
being patient sometimes, and subtle... sometimes. I guess I am just frustrated.


>Best wishes,
>LynnD


Thank you LynnD.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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E. House wrote:
>From what I've seen, embroidery wasn't really used that much on outer gowns
>at this time, at least not in any ways that seem suitable. I could pearl it
>like Mary Tudor's black gown, but again with the money; I might be able to
>stand glass pearls from an authentic standpoint, but even with those the
>cost might add up pretty fast. Nifty little metal mounts might work, but
>wouldn't satisfy me by themselves; other than that, about the only thing I
>can think of is trim or ribbon. I'd like to use only authentic materials in
>this, though, so the trim is almost certainly out, and that much silk ribbon
>gets expensive, even ordering from JKM! Ideally, I'd like to find something
>that doesn't cost much in materials, but can be made to look very nice with
>the application of enough elbow grease. 

"Guards" are always good! <g> Guards are strips of contrasting fabric used to trim front openings, hems, bodice edges, neckline edges et cetera in the period you're looking at. They can be plain or fancy and don't have to cost a lot.  They can be a plain strip of ribbon, a strip of velveteen, or a strip of fancy brocade (which doesn't cost _nearly_ as much as making the whole gown of the fancy stuff :).

The guards can also be trimmed -- this is easy to do because you can do all the fiddly bits _before_ you sew the strips onto the garment, and if they're well made, they can be taken off and used again on something else.

A couple of nice examples of trim made from strips of cloth:
http://gallery.euroweb.hu/art/b/bronzino/2/portlady.jpg
http://gallery.euroweb.hu/art/b/bronzino/2/young_g.jpg

Above all, Couched Cord is Your Friend <g>. This seems to have been a very popular way to add some "fanciness" to one's clothing. The Tudors, as well as the Spanish, French, et cetera, loved intricately braided patterns, with loops, interlacings, spirals et cetera, which you can find by looking at portraits -- my favorite example is the French king Francois I, in his portrait by Clouet, where you can clearly see the decorative pattern of sewn-down lengths of cord on his sleeves. You can use plain fiber cords if you're portraying someone not too wealthy, or cords with metallic thread if you're playing someone from the upper classes (and if you can find some that don't have that tacky lamé metallic look).

Finding good materials that are authentic is admittedly somewhat hard. Ideally you could make them yourself by tablet weaving or finger-loop braiding, but you are talking many yards of cord here. Most of the cord you find in the trim sections of fabric stores these days is rayon, which is very shiny (almost too shiny) and also rather fragile. Silk is of course much sturdier but also more expensive. Some of the cotton cords and simple trims you can find are a decent substitute -- for a flat pattern you can interweave several strands of it in curves and open interlacings for a very nice effect. My old wool gown (which doesn't fit any more) has two strands of round cord and two of flat braid in a very simple pattern -- crossing "waves" in opposite directions, creating a chain-like pattern. (Occasionally someone will compliment me on the "Celtic interlace" which always makes me giggle, since it's an Italian pattern...). Just be sure that you choose fairly simple cords so they do!
 n't distract from the patterns.

A couple of examples of corded or interlaced trim:
http://gallery.euroweb.hu/art/c/clouet/jean/francois.jpg
http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/01henry8.jpg
http://gallery.euroweb.hu/art/c/clouet/francois/charles7.jpg

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
____________________________________________________________

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Kimiko,

I remember attending one of my last SCA events several
years ago (after a 10 year hiatus) and laughing with
some friends over how, after years and years, some
rather "heavy" women WILL wear garments of dubious
historical value that make them appear like nothing
more than a walking wet-nurse advertisement, and some
men WILL wear kilts belted UNDER their very protruding
bellies.

We all had a long discussion on the value of
expressing our opinions to these people (disgust,
offers of costuming help, etc.) and the final
consensus was that people are usually quite aware of
what they're wearing. If they want help, THEY will ask
for it.

<sigh of despair>
Cynthia


> 
> I am hoping some of you can help me with a personal
> costuming dilemma.
> 
> I attended my favorite Renaissance faire this past
> weekend, and came away 
> with my eyes opened, and strong disgust for what I
> saw. What was so bad you 
> may ask? The realization that faire costumes have
> only a passing 
> resemblance to the historical portraits and actual
> surviving costumes I 
> have learned so much about. I could go on into
> details, but the list is 
> rather long.
> 



		
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Subject: Re: [h-cost] Renaissance costuming dilemma
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> << Per "Claus' Guide to Bad Garb" categories >>
> Do you have a link to this guide? I would love to see it.

I don't think it's online anywhere. I don't even know if he sells anywhere
but at Pennsic, because by googling "Claus Toymaker -Santa" I could only
find links to Pennsic articles. If you know someone who's going though, it's
worth buying at least the first volume. It's a little booklet that will
change the way you view the SCA!
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Subject: Re: [h-cost] Renaissance costuming dilemma
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> Hi all,
>
> I am hoping some of you can help me with a personal costuming dilemma.
>
> I attended my favorite Renaissance faire this past weekend, and came away
> with my eyes opened, and strong disgust for what I saw. What was so bad
> you
> may ask? The realization that faire costumes have only a passing
> resemblance to the historical portraits and actual surviving costumes I
> have learned so much about. I could go on into details, but the list is
> rather long.

Kimiko,

I have played in the SCA and I have played in the Ren Faires (both big and
small).  And after doing both I realized a couple of things that may
help....

Ren Faire is *Theater* and as such, the "actors" don't necessarily care
about accuracy.  The people who go to the Ren Faires don't enjoy it any
less because it isn't accurate.  As long as it looks close, they are
happy.  And maybe that is okay.....it isn't *re-enactment* so maybe it
isn't prudent to expect them to be re-enactors with appropriate garb and
all.

And people have mentioned the problems of bad garb in the SCA as well. 
The one thing I have taught myself about people in the SCA is that most of
them only vaguely attempt period clothing because they have to wear
something.  For most of them, their focus is something else.  And that is
okay.

And when I see someone who has clothing that might cringe at, I try to
find what they did *right* instead of what they did *wrong*.  This is also
a good thing when someone asks your opinion about their dress/doublet. 
First say what is good about it (nice fit, lovely trim, nice neckline,
very flattering, etc.) even if it is in flourescent orange poly/rayon
blend.

And try to only offer your opinion if it is asked.  People don't take
kindly to unsolicited comments on how they can improve their garb.  Wait
until they ask for help.

HTH,

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: RE: [h-cost] fur-lined dress
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A couple pictures that have been referenced on this list before that might be helpful:

http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=3XXMS -- this seems like metal do-dads to me, but I didn't examine it closely

http://www.tudorplace.com.ar/images/York,Elizabeth.jpg -- this is more trim then embroidery

http://www.tudorplace.com.ar/images/Tudor,Margaret04.jpg -- I'm not sure this is in your time-frame, and it's probably fancy cloth rather then all-over embroidery

My suggestion for this period is that if you fit it well, and have all the appropriate accessories (hat/hood, partlet, any jewelry, etc.) you don't need any more embellishment for the outfit to be stunning. I would think that the fur itself will make such an impact that you'll mundanely qualify for the "expensive fabric" fancy-requirement :-)

By the way, where'd you find the lambskin? I hope you post pictures when you're done -- it's been a period I've wanted to play with for years!
	-sunny

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E House wrote:

> Excited!! I just ordered enough of a lovely Toscana lambskin w/very thin
> leather backing for this gown (and perhaps trim on a few other gowns):
> http://www.formfunction.org/temp/1495-1515Francecrop.jpg (the woman in red)

Do tell us how it ends up working!  I wore one of my thinner houpelands 
this weekend and have been musing on the issue of linings thin enough to 
give a slender look at the body, yet heavy enough to stop the train from 
collapsing into a narrow fishtail as one walks.

Possibly not the same furs the whole way inside.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
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Kimiko Small wrote:
> So, my dilemma. Is there any way to help the faire people improve the 
> costumes being worn, especially by the nobles,

The nobles, being "staff" should be easier to influence, if you become 
one of them or have the ear(s) of same.

Faire-attendees often see Faire as an opportunity for costume, fantasy, 
or what-have-you, so you probably can't do much there, because they're 
having fun with a different aspect.

Although I bet if someone made simple handouts with a few line drawings 
of what was really worn in the Renaissance and handed them to attendees 
along with their tickets, that might do some good for next year.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
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Subject: [h-cost] beaded girdles (Tudor/Elizabethan)
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Greetings to the List  :)
 
I am beginning a project soon and would like some advice.  I plan to  make a 
beaded girdle for a late Tudor gown, and am curious as to the best way to  
construct it.  I realize that I could use silk cord and string the beads,  but I 
have seen some that are available commercially online that are made with  wire 
that appears to be twisted into individual links 
(_http://www.sapphireandsage.com/girdle.html_ (http://www.sapphireandsage.com/girdle.html) ).   I have had 
a bit of experience doing this, but the only way to really have  enough 
stability with the wire would be to do a twist around at the end of each  loop, or 
a drop of solder, neither of which I am opposed to doing.  I  have looked at 
portraits and from what I can see (granted, I have not looked at  EVERY Tudor 
portrait), they appear to be strung on cord as opposed to being  connected with 
wire.  Of course stringing the beads on cords would be much  quicker, but I 
have these nightmare visions of a certain four year old yanking  mommy's chain 
and a couple of hundred of beads flying everywhere, unless they  are 
individually knotted, which I also know how to do.
 
I would appreciate advice regarding authentic construction methods as well  
as suggestions on methods that will produce a durable product.  This is  
something that I will probably wear fairly regularly, so it needs to be able to  
withstand a good bit of use.  
 
Thank you in advance.
 
:)
Kimberley
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> You know, it's interesting. I do have a chest. I think it's just that the
barrel of my chest is so broad that I couldn't push them together. Too much
space in between? I know that I always have to get clothing in a large size
and take it in at the waist to get shirts to fit my shoulders.

I have a barrel of a chest as well. So did Vivien Leigh apparently, it was a
hard task to get her cleavage in the Gone with the Wind costumes for
instance.

I can't recall where I read it though.. it was a book about her or about
costuming.

For my latest German garb I've got a curve to my bodice, more like a P
though and the curve is not very pronounced at all.
http://costumes.glittersweet.com/sca/kampfrau.htm
I must update the page soon, a fair bit more has been done to it...

You can see if you click the middle thumbnail the curve drawn in pale pencil
on the black fabric of the mock up.


I also find lying on my back to get into or fit my gowns just makes my
breasts fall into my armpit (curve of the ribs is pretty extreme) so I stand
and pin from the bottom up and adjust while standing. It takes a bit of
work, but I find it works very well for my shape.

I'll be making a four part gown (with godets to increase the flare of the
skirts) in a gold fabric soon. This will be very interesting as it has no
give across and a fair bit on the bias. I'll probably have to cut the outer
fabric first then the lining as no doubt the lining will have more stretch
that the outer. What to test the pattern in first will be a difficult
choice...

It'll be lined in red so the colour comes through the gold, and flat lined
so there is no allowance seen through the outer fabric;)

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


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Subject: RE: [h-cost] Semi-OT: Beaded Trim
Date: Mon, 4 Oct 2004 19:49:26 -0700
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I have a couple of alternatives for you.

1 Display and costume supply (they are a Seattle store that does online
sales) www.displaycostume.com  I've found it an invaluable resource for
chainette fringe and beaded fringe for Belly Dancing costumes.

2 South Beach Trimmings www.southbeachtrimmings.com I've run into them
consistently at the sewing expo here in Seattle and their prices are
wonderful.  The site shows only a fraction of what they actually carry.

Good luck

Molly



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At 08:36 PM 10/4/2004 -0400, you wrote:
>If you know someone who's going though, it's
>worth buying at least the first volume. It's a little booklet that will
>change the way you view the SCA!


Unfortunately, I do not know anyone in the SCA anymore, at least not 
personally around here.

Kimiko



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At 05:41 PM 10/4/2004 -0700, you wrote:
>We all had a long discussion on the value of
>expressing our opinions to these people (disgust,
>offers of costuming help, etc.) and the final
>consensus was that people are usually quite aware of
>what they're wearing. If they want help, THEY will ask
>for it.
>
><sigh of despair>
>Cynthia


I hear that sigh. One lady asked me last year for all sorts of advice, and 
this year none of it was implemented. It really made me sad and frustrated.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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You could stuff underneath and make sure that the top won;t escape.  I know the old tissue in the bra is more wishful teenage stuff, but it works for part of the time.  I wear a padded bra under my bodice to boost me.  If I go without I loose some of the effect that a bodice should give.  I have a 34/36b so i am not that big to begin with.  IF you dart under the bust sometimes that helps some, but becareful you don;t do too much or it becomes the Madonna pointed look when she was singing about being a virgin, you run out of room to breathe and again you start to loose the effect.  I can't think of anything more for you.  Other ideas would be great.
 
Janet

kathysmassmail@verizon.net wrote:
Hello all,

I have a question. Has anyone out there ever done a fitting on someone who doesn't have enough, um, chest to achieve the uniboob look? I tried fitting one on myself. It ended up being a cross between the straight front and curved front because the initial fitting was done with a straight front and then I just _couldn't_ get it to look right so I did the front seam by myself to achieve the right-ish look.

However, here's my question. No matter WHAT I did, I could not get my breasts up and together without making the pull on my back uncomfortable. I ended up just pushing the mass (in Robin's terms) up and calling it good. I wear a 42A, so I think the relative broadness of my rib cage vs. the size made it difficult to acheive the right look.

So, was there someplace I should be compressing harder? What have other people done in those circumstances? Or am I just not the right "Gothic super-model" type?
--Kathy K.


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http://www.decoratingstudio.com/
http://www.warehousefabricsinc.com/

I haven't bought from either of the above but they intrigued me.

Fran Grimble
Lavolta Press Books on Historic Costuming
Two New Books!
http://www.lavoltapress.com



Molly Boone wrote:

>I have a couple of alternatives for you.
>
>1 Display and costume supply (they are a Seattle store that does online
>sales) www.displaycostume.com  I've found it an invaluable resource for
>chainette fringe and beaded fringe for Belly Dancing costumes.
>
>2 South Beach Trimmings www.southbeachtrimmings.com I've run into them
>consistently at the sewing expo here in Seattle and their prices are
>wonderful.  The site shows only a fraction of what they actually carry.
>
>Good luck
>
>Molly
>
>
>
>_______________________________________________
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I have to agree here -- most of these people are very conscious of what they
are wearing.  Here in Oregon, we have an SCA event every year (Egils) where
we get some mundanes trying to play dress up.  By this I mean faire-cows
(the tits-on-a-platter style bodice), chain maille bikinis and bunny fur
loin cloths.  Every year, they get "talked to".  The first Ren Faire in
Brookings, on the coast, was full of fairy wings and Goths.

I don't look at Ren Faires as anything that could or should be historically
accurate as it can be a starting point for someone who in new to playing.
Leading by example is the best way to convert goth-rennies into someone who
cares about authenticity.

Yes it is frustrating, but you can't change the world.

Becky


>consensus was that people are usually quite aware of
what they're wearing. If they want help, THEY will ask
for it.




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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Renaissance costuming dilemma
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Hi Diana,

Thanks for everything you wrote. I can really see your points. Faire isn't 
re-enactment, although some of the actors want to make it more than simply 
theatre in the rough. I guess it is a bit of a battle, those who want more 
history, and those who just enjoy entertaining.

At 06:06 PM 10/4/2004 -0700, you wrote:
>And when I see someone who has clothing that might cringe at, I try to
>find what they did *right* instead of what they did *wrong*.  This is also
>a good thing when someone asks your opinion about their dress/doublet.
>First say what is good about it (nice fit, lovely trim, nice neckline,
>very flattering, etc.) even if it is in flourescent orange poly/rayon
>blend.

That is very good advice, that I try to remember. I usually hold my tongue, 
but it was holding my tongue all weekend that required me to vent in my LJ 
and ask advice here.

>And try to only offer your opinion if it is asked.  People don't take
>kindly to unsolicited comments on how they can improve their garb.  Wait
>until they ask for help.

I try do this as well. Last year the "noble" lady in the mu mu drove me 
nuts at Hanford, then at Kearney last November she asked me for help, which 
I tried to provide best I could. This year she's again in mu mu, so I am 
wondering why bother. But then again, it was only one person and I can only 
provide advice, not make her new outfit unpaid.

>HTH,
>
>Diana

Yes, it did help. Thank you again.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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> I'll be making a four part gown (with godets to increase the flare of
the
> skirts) in a gold fabric soon. This will be very interesting as it has
no
> give across and a fair bit on the bias. I'll probably have to cut the
outer
> fabric first then the lining as no doubt the lining will have more
stretch
> that the outer.

Shouldn't it be the other way around - fit the lining to give you the
correct shape and hold the shape and have the outer fabric over that to
give the pretty outer look of the garment?

Teddy
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----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 04, 2004 9:29 PM
Subject: Re: Re: [h-cost] Gothic Fitted Dress and lack of uniboob


> I have a barrel of a chest as well. So did Vivien Leigh apparently, it was
a
> hard task to get her cleavage in the Gone with the Wind costumes for
> instance.
>
> I can't recall where I read it though.. it was a book about her or about
> costuming.

A favorite story (may well be apocryphal) about this, which is one of my
favorite movies.
Laurence Olivier walked into the dressing room where Miss Leigh's breasts
were being taped together to produce cleavage for the infamous red dress. He
watched in silence for a moment, then remarked "And all this time I thought
they were perfectly lovely."

Dianne


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Subject: [h-cost] Re: 1500/1600 Lace Patterns
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> Dear Kathy,
> If you would like, i have some bobbin lace patterns
> reconstrukted from old
> laces at a royal burrial in Roskilde Cathedral. The
> find was from 1615ies,
> but the laces was sitting on old garments wich was
> older.
> I can email them if you want me to.
> 
> Bjarne
>>>>>>>>>>>>>>>>>>>>>

Bjarne; is it to late to add a " me too" :)?

Catherine
ckinsey@kumc.edu

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Date: Tue, 5 Oct 2004 09:50:24 -0400
From: Irmgart Hasenschlaf <irmgart@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Renaissance costuming dilemma
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What made me crazy this weekend at Carolina Renaisssance Faire was
sort of the opposite. One of the performers took my husband aside
(apparently thinking he was also on staff) and said that he didn't
think "the boss" would approve of what he was wearing....

"what he was wearing" were pants similar to these in gold colored wool
with a black linen base:
http://img.photobucket.com/albums/v96/thalionar/SCAGarb/Doppelsoldner-1.jpg

and a doublet that is a good bit later in black cotton velveteen
slashed to show lemon linen (we're making baby steps to get him more
in line with the decades he wants to do... a gathered linen shirt and
wool waffenrock are next on the list of projects)

The objection was to the codpiece. I do admit that I used a touch of
artistic license on said codpiece and 1) used a much later pattern for
it (from PoF for the Nils Sture codpiece) and 2) used a lightweight
silk substitute to make puffs come out of the slashes.

Said personage on staff was wearing a tudor ensemble that *should*
have had a codpiece, and didn't (paned slops and doublet)...it was
kind of amusing, but at the same time freaking annoying since we
*paid* to get in, and I doubt seriously that he said anything to the
various women wearing "cinchers" who looked like they were smuggling
mangoes in their chemises.

OK. I'll stop now.

-Laura Loignon AKA Irmgart Hasenschlaf

On Mon, 04 Oct 2004 19:54:20 -0400, Cynthia Virtue
<cvirtue+dated+1112485901.21e899@thibault.org> wrote:
> Kimiko Small wrote:
> > So, my dilemma. Is there any way to help the faire people improve the
> > costumes being worn, especially by the nobles,
> 
> The nobles, being "staff" should be easier to influence, if you become
> one of them or have the ear(s) of same.
> 
> Faire-attendees often see Faire as an opportunity for costume, fantasy,
> or what-have-you, so you probably can't do much there, because they're
> having fun with a different aspect.
> 
> Although I bet if someone made simple handouts with a few line drawings
> of what was really worn in the Renaissance and handed them to attendees
> along with their tickets, that might do some good for next year.
> 
> --
> Cynthia Virtue and/or Cynthia du Pre Argent
> 
> (8.) The "independent and non-partisan" Commission on Presidential
> Debates is neither independent nor non-partisan.  Walter Cronkite called
> CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


-- 
Irmgart Hasenschlaf
Canton of Buckston-on-Eno, Barony of Windmasters' Hill, Kingdom of Atlantia!
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On Tue, 5 Oct 2004, Teddy wrote:

> > I'll be making a four part gown (with godets to increase the flare of
> > the skirts) in a gold fabric soon. This will be very interesting as it
> > has no give across and a fair bit on the bias. I'll probably have to
> > cut the outer fabric first then the lining as no doubt the lining will
> > have more stretch that the outer.
> 
> Shouldn't it be the other way around - fit the lining to give you the
> correct shape and hold the shape and have the outer fabric over that to
> give the pretty outer look of the garment?

If it's a fitted dress of the type I talk about, I'd agree with Teddy
here. The lining does serious structural work, and it also changes the
body shape. If the outer fabric is not going to do the heavy lifting, it
would not be a good idea to do that fitting first -- it would be subject
to too much pressure, and you'd be fitting it to an un-shaped figure that
wouldn't represent the final figure.

Even if the lining has "more stretch," you can make allowances in the
outer fabric to account for that. However, normally for the lining I'd 
suggest choosing something that is what you describe for the main fabric
-- firm on the grain, good stretch on the bias. Still, I would do this
only in natural fibers, which do have some "give" on the grain, though not
enough to call it "stretch." It sounds like the outer fabric in this case
might not be a natural fiber?

On the other hand, perhaps the OP is talking about a different style of
dress? In that case, all bets are off on how she's creating the structure.

--Robin

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Subject: [h-cost] Re: Renaissance costuming dilemma
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Kimiko, I feel your pain!

I have watched my local rennfaire (KCRF, owned now by MidAmerica
Festivals, Inc.), which I have participated in, one way or another, for
27 years now, go steadily downhill, costume wise, since they went from
non-profit to commericially owned.  Here in the midwest we do not have
the guild system to provide groups of performers to inhabit our village
and make it come alive.  All roles, from court to beggar, are auditioned
for and recast each year.  Sometimes a performer plays the same role for
several years, sometimes they don't.  All performers are required to
provide their own costumes & props, the costumes to be made to the
Entertainment Director's specifications (and he loves glitz!).  None of
the performers, including court who do get a clothing stipend, are paid
enough to even cover the costs of their costumes.  Non-period characters
have also been added over the years, we have Robin Hood & Maid Marion
walking around, Don Quixote, Vlad the Impalter (fortunately that was
only for one year!), wizard's bumbling apprentice (think HP) and a fairy
forest that was originally based on Midsummer's Night Dream but is now
way off on it's own fantasy tangent.  Even our court is fiction; Edward
didn't die but had a son who is now King and married to a gypsy woman. 
sigh.

There are people who do care about their costumes being as period as
possible but when the management only pays lip service to trying to be
period inexperienced underpaid performers tend to go the easy route.  I
think many of our patrons do know the difference however.  Several years
ago we had Jane Seymour in court and I was able to talk her into wearing
a gable headdress similar to the well-known portrait.  She had resisted
at first, it isn't the most flattering headgear after all :), but after
the first weekend she was sold on it as people *knew* who she was from
haveing seen the portrait.  

And I do agree that rennfaires are theater, and some theatricallity is
required in the costumes, I just object to the growing Disneyesque
influences :).  That being said, here is the performers webpage for KCRF
with links to photogallerys from the current year and years past for
anyone who is curious:
http://www.cobrahq.com/kcrfperformers/Photo_Gallery/photo_gallery.htm


Catherine


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I have been doing Bristol Faire for about 15 years now (zoiks!) most of it in the Guilde fo St. George which is the court. I know that even people who don't know what they are looking at know a good-looking costume when they see it. I get compliments on my costumes all the time, and most of them are from patrons in civvies and even the occasional chain-mail bikini wearing Faire Bunnie. All the subtlties of my dress may not be apparent to them, but they recognize a good-looking outfit when they see it. St. George does make some choices based on theatricality, but thankfully all our Guildmasters have had a very clear idea of what the Guilde should look like and it's heavily rooted in historical accuracy. Once you get a base of people who have bought the idea that being historically accurate is both possible and beautiful, you can create a groundswell that sort of carries the new folks along. You also weed out the ones that want to play the fantasy game. There's nothing wrong w!
 ith fantasy- but if it's not the game the group decides to play, people who don't want to go to the trouble of research (most of which we've already done!) and looking for appropriate fabrics and trim eventually just go away. But the best way to create this is to do it yourself. Lead by example. Get a few of your best costuming friends to do it with you so you become a group and not just a fluke. Share resources. Find inexpensive sources for decent fabric and decoration and talk about them! Explode the myth that the only way to do historical accuracy is to spend a fortune! But always look fabulous, be kind and helpful, and share-share-share with anyone who shows an interest. You won't get everybody, but you'll get alot!


Karen
(Historical Accuracy Cheerleader apparently.....)

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Thanks, all, for the suggestions. I'm a little uncomfortable using guards on
this gown, since I'm going for French (forgot to mention that!) and those
have such a Germanic air to them... though granted, some of the things I'm
considering, like the Elizabeth of York style gold brocade/trim/whatever it
is could probably be called guards! Couching and cords probably will play
some part. Chris, those 2 Clouet pictures you posted are exactly the sort of
thing I'd like to do... I wonder if I can justify using a male sort of
decoration on a female gown.

Has anyone--Cynthia, perhaps?--got a clear idea of how metallic cord from
this time period was made? I've read that it would have been something like
a narrow strip of gold leaf coiled around thread; I hope that's what it's
like, because I can find something like that pretty easily. In fact, if I'm
feeling really stubborn, I can take some silk thread and do the wrapping
myself! =} (I've got a bunch of spun silk that I stupidly ordered, when I
should have gotten reeled.)

The metal doodads are really tempting me; I'm pretty sure either fire
mountain gems or shipwreck beads have something that I could stand and
afford. Catherine of Aragon has mounts on one of her gowns, too, though
they're on an under layer that shows at the neckline rather than on the
outer gown (similar to the Margaret Tudor's layering); I think some of the
jeweled necklines are basically the same idea, as well--they're just jeweled
metal doodads rather than plain metal doodads.

Let me explain the motive for this gown as quickly as I can: see, I'm
working on a line of clothing for sale. I'm focusing on the period from
~1375-1525 with particular focus on 1475-1510, and the styles I offer will
be as provably authentic as possible, in style, materials, and seaming. On
the construction side, I'm offering 2 levels of authenticity: ready-made
(fitted to a few basic measurements, but not truly custom fitted) in which
there will be no visible machine sewing, but in which modern construction
methods and a minimum of hand-sewing are used; and custom fitted, where the
garment is fitted by way of lots of measurements and a fitting-by-mail of a
muslin, and the construction techniques are much more authentic and
hand-stitching abounds.

The gown in question now is meant to be a display piece, to show off my
skill and my dedication to authenticity--and since I expect to make more
money off of the accessories side, it'll be the backdrop for lots of fancy
millinery, jewelry, belts, chemises both plain and ridiculously fancy,
partlets, etc etc etc. The plot is for people to look at _this_ gown and
say, "Wow, if she can do _this_, I bet she'll do an amazing job on _my_ much
simpler garment!"  Also, since my area of interest is not a particularly
popular or well known area--at least not compared with say, Elizabethan--I
want people to start drooling over the sorts of gowns I like to make, so
that I can build up demand for my pretty little square-necked gowns. (And
all the rest, of course, but the square-necked gowns are soooo pretty...)
Sort of like Kimiko's hope to lure people over to the authentic side--if
they see it and like it, maybe they'll want one of their own! No demand?
Well, by gosh and by golly I'll MAKE demand.

I found the fur after a great deal of searching at:
http://www.fashionleather.com/flimerchandise/shearling/toscana/toscana.html
It's the absolute best deal I could find on non-curly woolskin, and for that
matter the _only_ truly thin-skinned lamb I could find. This place focuses
on lamb/sheep only; if you're planning to order, do so by phone because a)
you can only get the wholesale discount by phone (5%, not that great, but
the price they have is already quite good) and b) their stock moves really
quickly. (Also, you should order by phone to hear this guy's nifty
accent--if there is a Texas part of Italy, that must be where he's from.
=} )  They were out of the black Toscana when I ordered, so I had to replace
it with what they called burgundy, although from the description the guy
gave me, it's a very natural color rather than anything that looks dyed. (
He gave me that description before I gave him any indication of which I'd
prefer, so... Lord, please let it be a good color! =}). The skins average
about 4.5 sq. ft, so a bundle is NOT 75+ sq ft; I wound up ordering 18 skins
in order to get the ~80 sq ft I needed. (Well, I really need more like 60,
but with irregular skin shapes I expect ~20 sq ft of oddly shaped scraps.)

Cynthia, I've been thinking about the problem of reducing bulk in key
places, too--I won't be doing it on this gown, since I want it as provably
authentic as possible, but I've come up with a few. Other than mixing types
of fur, my first idea is to shear it my own self, around the waist and hips,
so that the bust (hey, instant wonderbra) and skirt fur are ~1", with the
tighter areas sheared down to more like 1/4". (I think I can sort of
semi-justify that; paintings of square-necked gowns in the late 15thC/early
16thC suggest that the fur _is_ trimmed where it peeks out at the neckline,
etc, since it's often noticeably shorter than the fur showing on the insides
of the sleeves and skirt.) The second is to use fur everywhere but the
torso, and use cotton velvet that matches the fur at the torso; that might
be a good warm(er) weather solution, and I think that if the fur were laid
right it could sort of smooth over the join well enough that it wouldn't be
noticeable from the outside.

-E House
Liberty in Our Lifetime - www.freestateproject.org
Coming Soon - http://www.seamcheckers.com



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Subject: Re: [h-cost] Renaissance costuming dilemma
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----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
<snip>
> After pondering here a bit, I think I will push for documentation, at
least
> amongst those I can influence in some manner. Maybe then when people do
the
> research into a portrait or particular style, it might stick and they
might
> start looking at things in a different manner. After all, that's what this
> list has helped me to do.

It occurred to me that perhaps I should clarify what I meant by
documentation type stuff... I don't necessarily mean walking around with a
file folder of all the details documented on paper (although that'd be
pretty funny. Scary how easily I can picture doing that-- great big flash
cards, maybe). Instead, maybe just something subtle like "Oh, thanks for the
compliment! I copied this detail from Eleanor of Toledo's dress. Had the
hardest time finding the right materials for it, since everything is
polyester these days..."

> Thanks for playing devil's advocate. You have given me more to think
about.

Hee, glad to help. Funny, this post makes it seem like I'm vaguely capable
of subtlety, which I ain't.

-E House

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Date: Tue, 05 Oct 2004 12:46:32 -0400
From: "Rhonda Donaldson" <rdonalds@wvu.edu>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Gothic Fitted Dress and lack of uniboob
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Sorry for the late posting, but I saw that "What not to Wear" and I think they were actually called chickens.  I know, weird...

>>> gia_gavino@comcast.net 10/4/2004 2:27:59 PM >>>
Greetings!  What an great question!  I was watching the BBC "what not to wear" show one day and they had a gal on with virtually no tits whatsoever!  So, what they had were what looked like silicone inserts that she would put into her bras.  Maybe someone on the list can remember what the things were actually called or perhaps the BBC webpage might have information about that particular episode on their web page.

But it really gave her a bosum, and maybe this could help you get the look you are aiming for?  

Good luck!

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 
Emer's Needle Wares

-------------- Original message -------------- 

> Hello all, 
> 
> I have a question. Has anyone out there ever done a fitting on someone who 
> doesn't have enough, um, chest to achieve the uniboob look? I tried fitting one 
> on myself. It ended up being a cross between the straight front and curved front 
> because the initial fitting was done with a straight front and then I just 
> _couldn't_ get it to look right so I did the front seam by myself to achieve the 
> right-ish look. 
> 
> However, here's my question. No matter WHAT I did, I could not get my breasts up 
> and together without making the pull on my back uncomfortable. I ended up just 
> pushing the mass (in Robin's terms) up and calling it good. I wear a 42A, so I 
> think the relative broadness of my rib cage vs. the size made it difficult to 
> acheive the right look. 
> 
> So, was there someplace I should be compressing harder? What have other people 
> done in those circumstances? Or am I just not the right "Gothic super-model" 
> type? 
> --Kathy K. 
> 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
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I did a quick Google search for "silicone bra inserts" and got dozens of 
pages right off the top that sell exactly that.


Dawn


Rhonda Donaldson wrote:
> Sorry for the late posting, but I saw that "What not to Wear" and I think they were actually called chickens.  I know, weird...
> 
> 
>>>>gia_gavino@comcast.net 10/4/2004 2:27:59 PM >>>
> 
> Greetings!  What an great question!  I was watching the BBC "what not to wear" show one day and they had a gal on with virtually no tits whatsoever!  So, what they had were what looked like silicone inserts that she would put into her bras.  Maybe someone on the list can remember what the things were actually called or perhaps the BBC webpage might have information about that particular episode on their web page.
> 
> But it really gave her a bosum, and maybe this could help you get the look you are aiming for?  
> 
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E House wrote:
> my first idea is to shear it my own self, around the waist and hips,

I betcha a beard trimmer would work for this.


-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
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Date: Tue, 05 Oct 2004 11:05:56 -0700
To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] Renaissance costuming dilemma
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To the tune of 'Surf City' by the 'Beach Boys'

We're goin' t' snark city, here we come ...
We're goin' t' snark city, gonna have some fun ...
Gonna snark all the Rennies, put 'em on the run ...

To me, there is *ONE* and only one consideration in judging authenticity of 
the patrons at a Renn Faire (not SCA or reenactment groups that have garb 
rules).

Are they enjoying themselves?

They paid the entrance fee with their own money and can dress anyway they 
want within the rules of Society at Large (flashing isn't cool) and the 
specific faire (employees must meet the employer's dress code).

I say what they wear is nobody's business but their own!

Period!

Katie




At 10:22 PM 10/4/2004 -0700, you wrote:
>Hi Diana,
>
>Thanks for everything you wrote. I can really see your points. Faire isn't 
>re-enactment, although some of the actors want to make it more than simply 
>theatre in the rough. I guess it is a bit of a battle, those who want more 
>history, and those who just enjoy entertaining.
>
>At 06:06 PM 10/4/2004 -0700, you wrote:
>>And when I see someone who has clothing that might cringe at, I try to
>>find what they did *right* instead of what they did *wrong*.  This is also
>>a good thing when someone asks your opinion about their dress/doublet.
>>First say what is good about it (nice fit, lovely trim, nice neckline,
>>very flattering, etc.) even if it is in flourescent orange poly/rayon
>>blend.
>
>That is very good advice, that I try to remember. I usually hold my 
>tongue, but it was holding my tongue all weekend that required me to vent 
>in my LJ and ask advice here.
>
>>And try to only offer your opinion if it is asked.  People don't take
>>kindly to unsolicited comments on how they can improve their garb.  Wait
>>until they ask for help.
>
>I try do this as well. Last year the "noble" lady in the mu mu drove me 
>nuts at Hanford, then at Kearney last November she asked me for help, 
>which I tried to provide best I could. This year she's again in mu mu, so 
>I am wondering why bother. But then again, it was only one person and I 
>can only provide advice, not make her new outfit unpaid.
>
>>HTH,
>>
>>Diana
>
>Yes, it did help. Thank you again.
>
>Kimiko
>
>
>Kimiko Small
>Owner ~ DreamTime Studios
>http://www.dreamtime-studios.com
>Fresno, CA, USA
>
>"When there is fear, there is no creativity" ~ C. Lowell
>
>_______________________________________________
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> Laurence Olivier walked into the dressing room where Miss Leigh's breasts
> were being taped together to produce cleavage for the infamous red dress. He
> watched in silence for a moment, then remarked "And all this time I thought
> they were perfectly lovely."

Oh, that's wonderful. I love that.

Thank you to everyone with insert suggestions, but I'm actually ok with the size of my chest. My husband likes them, which is what counts, and up until last year I could go without a bra. Then I started pulling muscles in my chest so I started wearing a bra at least part of each day.  

I was mostly concerned that I wasn't fitting my figure correctly, as opposed to getting my figure to fit the dress. Of course, others may feel differently, so it's good there is a lot of information out there!

Thanks again!
          --Kathy K.



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In the early years of SCA, chainmail bikinis, Gore slave outfits, re vamped
prom dresses and the like were a common show at many events, even in
December. One winter event a woman wore a non welded/soldered chainmail
bikini with no lining, the men liked it as the hall was a bit nippy.
People know what they are wearing but they may not know it isn't "period".
It is a judgment call on whether to approach or not. Best approach, as was
said, to live by example. Because many who are new, learn by the examples
presented by the old timers and rarely ask. Sometimes when asked the "old
timer" thinks they are wearing "period" because when they were new they saw
what "old timers  were wearing and followed suit, usually rattling off the
lines given to them about the so called authenticity of the outfit.
Like the SCA, it will take time for the Rens to move towards being a little
more "period" in their style of fashion. But remember that the Rens do not
have control of everyone who is within their "lands" who wear a costume, nor
the costume styles sold by the vendors.
The St. Louis Ren is new and is trying every year to get the costumes more
"period" It is a bit difficult when you are mid to late 1500s French.
As for the Mammary Maeves, the closest you come to that style is mid to late
Italian, consort or middle working class. But most of the "melons on a
platter" costumes are of English design at Rens. (I wonder if the platter
look is a century out of time as I seem to notice the tendency with late
1600s and 1700s a greater show of the cleavage)
Rens are there to make money and provide fun. Periodness of costume only
gets moved towards the top of the list if it will add to the festival. Also,
if you can show that it is cheaper to have closer to the period style and
less work, then you can convince a few to change.
Finally, we don't know everything that was worn in an era and the farther
back in time you go, the more you have to guess at possible cut, design and
color. At times we get lucky and something is found to add to our knowledge.

My $2 worth
De

-----Original Message-----
I have to agree here -- most of these people are very conscious of what they
are wearing.  Here in Oregon, we have an SCA event every year (Egils) where
we get some mundanes trying to play dress up.  By this I mean faire-cows
(the tits-on-a-platter style bodice), chain maille bikinis and bunny fur
loin cloths.  Every year, they get "talked to".  The first Ren Faire in
Brookings, on the coast, was full of fairy wings and Goths.

I don't look at Ren Faires as anything that could or should be historically
accurate as it can be a starting point for someone who in new to playing.
Leading by example is the best way to convert goth-rennies into someone who
cares about authenticity.

Yes it is frustrating, but you can't change the world.

Becky



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-----Original Message-----
  That being said, here is the performers webpage for KCRF
with links to photogallerys from the current year and years past for
anyone who is curious:
http://www.cobrahq.com/kcrfperformers/Photo_Gallery/photo_gallery.htm


Catherine
~~~~~~~~~
This is just my opinion of the Spanish King's outfit but EEEWWW! what horrid
material combination.
The Queen's isn't bad though the ruff (name escapes me, thingy fanning at
the back of her head, probably from trauma of seeing the King's outfit)
could be of a thinner lace.

De


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Renaissance costuming dilemma
Date: Tue, 5 Oct 2004 13:53:15 -0500
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I would say that this is a compliment in that he was dress well enough to be
mistaken for staff, assuming that this is a festival that is trying to
improve historic atmosphere in the costume department, though I kind of
wonder why "the boss" would have a problem with a codpiece. Did any of the
male "staff" to your knowledge, wear a codpiece?

De

-----Original Message-----
What made me crazy this weekend at Carolina Renaisssance Faire was
sort of the opposite. One of the performers took my husband aside
(apparently thinking he was also on staff) and said that he didn't
think "the boss" would approve of what he was wearing....
[snip]
The objection was to the codpiece. I do admit that I used a touch of
artistic license on said codpiece and 1) used a much later pattern for
it (from PoF for the Nils Sture codpiece) and 2) used a lightweight
silk substitute to make puffs come out of the slashes.

Said personage on staff was wearing a tudor ensemble that *should*
have had a codpiece, and didn't (paned slops and doublet)...it was
kind of amusing, but at the same time freaking annoying since we
*paid* to get in, and I doubt seriously that he said anything to the
various women wearing "cinchers" who looked like they were smuggling
mangoes in their chemises.

OK. I'll stop now.

-Laura Loignon AKA Irmgart Hasenschlaf


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Renaissance costuming dilemma
Date: Tue, 5 Oct 2004 14:21:27 -0500
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Perhaps mentioning that lacing allows room for change in the body more then
a zipper. And it is harder to change a broken zipper than a lace.
As for the snaps, it all depends on how quick of a change is needed. If
speed is what you need the snaps are your answer. If not, then the ties,
hook & eyes and buttons.
All it takes is one example to get the ball rolling.
May I recommend starting from the first layer and work your way up from
there.
Provide shift/chemise and shirt patterns.
See about going together on a bolt of handkerchief linen for this project.
Then once this is the norm or you feel the group is ready, move to the next
layer for women, the corset. Some may want, due to their size, some
bloomers/breeches of cotton or linen to help prevent chafing. With the men,
the southern region of their body.
Basically if you can make it easier for them to access and make the historic
style they will more likely do it.

Okay enough rambling for the day,
De


-----Original Message-----
Hi LynnD

>If you're part of a guild, you can
>carefully change things from the inside, especially by offering a
>well-placed, well-spoken hint here and there.

I have tried that for a year now, and they aren't budging much. Our
guildmistress prefers zippers hidden behind plackets, and snap in sleeves
or epaulettes, to switch between Elizabethan and Henry style garments. Our
members are following her lead, despite the fact I am supposedly the
guild's costume mistress. However, my hint on using linen instead of cotton
is starting to take a hold.


Kimiko



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	<5.2.0.9.0.20041005105833.00bb9410@mail.katiesorchids.com>
Subject: Re: [h-cost] Renaissance costuming dilemma
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----- Original Message ----- 
From: "Katie Pleasance" <Katie@katiesorchids.com>
> To me, there is *ONE* and only one consideration in judging authenticity
of
> the patrons at a Renn Faire (not SCA or reenactment groups that have garb
> rules).
> Are they enjoying themselves?

I have to agree, here. Someday I may want some place to wear my fun,
decidedly INauthentic Pre-Raphaelite stuff!  Well, ok, they're sort of
authentic in that they're made with Victorian and Edwardian
patterning/construction methods, but that's just because that's what I
learned to sew on...

-E

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From h-costume-bounces@indra.com  Tue Oct  5 17:41:50 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Date: Tue, 5 Oct 2004 23:40:39 +0200
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Subject: [h-cost] chenille stumpwork
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Hi.
Today i succeded trying to make the chenille thread on stumpwork. I made a
small flower with chenille.
You can se here:
http://www.my-drewscostumes.dk/helms5.htm
This is the very first flower i ever made in stumpwork, so i think it will
be good when i have practiced a little.
I couched on the chenille to the surface with another thread, and it worked.

Bjarne







Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re:  [h-cost] 1500/1600 Lace Patterns
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Renaissance Patterns for Lace, Embroidery and Needlepoint by Federico 
Vinciolo

This is a Dover publication of "an unabridged facsimile of the 
"Singuliers et nouveaux pourtraicts" of 1587"

ISBN 0-486-22438-4

Good luck with your new hobby!
Laurie

On Monday, October 4, 2004, at 02:03 PM, h-costume-request@indra.com 
wrote:

> Date: Mon, 4 Oct 2004 12:35:11 -0400 (EDT)
> From: Kathy Page <caitlin_oduibhir@yahoo.ca>
> Subject: [h-cost] 1500/1600 Lace Patterns
> To: Historical Costume List <h-costume@net.indra.com>
> Message-ID: <20041004163511.96916.qmail@web50604.mail.yahoo.com>
> Content-Type: text/plain; charset=us-ascii
>
> I gave in and bought lace making supplies for both
> bobbin and netted filet lace. Now I need patterns to
> work from - anyone have suggestions on books to find
> ca. 1500-1600 patterns?
>
> Thanks,
>
> Kathy

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Greetings, I am in the process of changing my email service to Hotmail.  My new email address is: elena_4557@hotmail.com

Thank you for you updating your address book!

Gia
--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares
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Date: Tue, 05 Oct 2004 18:29:44 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: Renaissance costuming dilemma
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At 02:29 PM 10/5/2004 +0000, you wrote:
>But the best way to create this is to do it yourself. Lead by example. Get 
>a few of your best costuming friends to do it with you so you become a 
>group and not just a fluke. Share resources. Find inexpensive sources for 
>decent fabric and decoration and talk about them! Explode the myth that 
>the only way to do historical accuracy is to spend a fortune! But always 
>look fabulous, be kind and helpful, and share-share-share with anyone who 
>shows an interest. You won't get everybody, but you'll get alot!


Thank you.

After reading and taking in everything people have shared on this list, I 
plan on doing just what you described. I know it will take time and effort, 
but I believe it is worth improving the faires I am a part of.

Kimiko


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Subject: Re: [h-cost] Renaissance costuming dilemma
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At 11:05 AM 10/5/2004 -0700, you wrote:
>To me, there is *ONE* and only one consideration in judging authenticity 
>of the patrons at a Renn Faire (not SCA or reenactment groups that have 
>garb rules).
>
>Are they enjoying themselves?
>
>They paid the entrance fee with their own money and can dress anyway they 
>want within the rules of Society at Large (flashing isn't cool) and the 
>specific faire (employees must meet the employer's dress code).
>
>I say what they wear is nobody's business but their own!
>
>Period!


Hi Katie,

I fully agree that customers who have payed their gate fees, if any, should 
wear whatever they want. We have had Klingons, Star Trek personnel, Gandalf 
the Great, Goths, fantasy knights, wannabe vampires, and many anime 
characters over the years. They are not part of a guild or group that has 
signed a contract stating they are to wear Tudor appropriate garments or be 
removed from the faire. Hanford Faire is actually a FREE event, so anyone 
can wander through wearing whatever they please, if they are not part of a 
guild or vendor booth. That's fine with me, because I have seen and helped 
bring many of these people into faire as an historical character. My dear 
friend who portrays the Queen at REC South went to her first faire as a 
fairy, and is now dressed in the finest gown a Queen could wear.

My comments have to do with the ACTORS who as a member of a guild (we use 
guild system in California) signed a contract to the faire board to wear 
Tudor appropriate garb. Even our vendors are to wear Tudor appropriate garb 
and have appropriate booth coverings (wood, canvas, nothing modern 
looking). Winged Fairies in two vendor booths are not Tudor appropriate, 
period. Wearing modern nike running shoes, or fluffy bedroom slippers are 
not Tudor appropriate. Neither is wearing paned slops, tall hats, or 
Elizabethan ruffs as per the event rules. Our event is a Henry VIII time 
period event. The guilds according to the contract they signed with the 
faire boards state they understand the rules and agree to abide by them. 
However, no one is checking on people, and no one in the faire board seems 
to care that some people in the King's court are dressed worse than a basic 
peasant. That's what's gotten to me after all these years.

My basic motto about faire is "If it isn't fun, don't do it." I left faire 
a few years ago because it quit being fun. I came back for other reasons, 
and for a time it was fun. In some ways it still is. My questions stemmed 
from wondering if this was still fun for me from a costuming standpoint, or 
if what bothered me was me beating my head against the wall.

I am thankful for many of the comments of the people on this list for 
giving me hope that by inspiration, not browbeating, I may be able to help 
some people at faire achieve a greater level in their costumes than their 
current comfort level.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: Renaissance costuming dilemma
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At 09:07 AM 10/5/2004 -0500, you wrote:
>There are people who do care about their costumes being as period as
>possible but when the management only pays lip service to trying to be
>period inexperienced underpaid performers tend to go the easy route.

At least you get paid something. Our small faire actors do not generally 
get paid, unless they do stage shows. That is probably another reason for 
the do what one will attitude, because they aren't getting paid to be 
appropriate.

>And I do agree that rennfaires are theater, and some theatricallity is
>required in the costumes, I just object to the growing Disneyesque
>influences :).

I can understand theatrical things in renaissance costumes, especially 
hidden things that make wearing the heavy garments in the summer heat more 
bearable. And I agree that the Disneyesque or fantasy approach of faire 
just makes it difficult to care or even continue.

Kimiko


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Renaissance costuming dilemma
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At 10:35 AM 10/5/2004 -0500, you wrote:
>It occurred to me that perhaps I should clarify what I meant by
>documentation type stuff... I don't necessarily mean walking around with a
>file folder of all the details documented on paper (although that'd be
>pretty funny. Scary how easily I can picture doing that-- great big flash
>cards, maybe). Instead, maybe just something subtle like "Oh, thanks for the
>compliment! I copied this detail from Eleanor of Toledo's dress. Had the
>hardest time finding the right materials for it, since everything is
>polyester these days..."


I actually brought documentation to faire once for a radically different 
Irish bard's outfit than is normally seen at faire, but that was for my 
friend to share with his friends as to why we went the way we did.

But what I was thinking was for the people in my guild who want to create 
new garb to actually look up the images themselves and look at them 
closely, then bring that to me for approval, before making their first 
sketch or cutting any material. We tend to come up with grand ideas based 
on other faire garments or on older patterns that aren't appropriate (but 
available and cheap), and that is where we are going askew.

I would love for the people to tell me they want to make Eleanor of 
Toledo's dress, or as I did base my dress on Jane Seymour's gown, and share 
that with people. And talk about hard finding a mesh that isn't a modern 
mesh... but that was before the Internet made finding better materials 
possible.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Date: Tue, 05 Oct 2004 19:10:08 -0700
To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] Renaissance costuming dilemma
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If they have signed a contract regarding appropriate attire, their 
inappropriate costumes should be brought up with faire management. If 
management chooses to ignore people who break their contract, they will 
discover that failure to enforce one contract provision often results in 
disregard of other contract provisions.

If management chooses not to enforce the contract, that's their privilege. 
Once it has been brought to management's attention, it is management's 
problem and no longer yours. If you don't like it, you are free to work 
other faires.

As far as I'm concerned it is not your position to try to enforce costume 
requirements on others, including those who's costume doesn't meet contract 
standards. You will just make enemies.

As always, my opinion

Katie

At 06:51 PM 10/5/2004 -0700, you wrote:
>At 11:05 AM 10/5/2004 -0700, you wrote:
>>To me, there is *ONE* and only one consideration in judging authenticity 
>>of the patrons at a Renn Faire (not SCA or reenactment groups that have 
>>garb rules).
>>
>>Are they enjoying themselves?
>>
>>They paid the entrance fee with their own money and can dress anyway they 
>>want within the rules of Society at Large (flashing isn't cool) and the 
>>specific faire (employees must meet the employer's dress code).
>>
>>I say what they wear is nobody's business but their own!
>>
>>Period!
>
>
>Hi Katie,
>
>I fully agree that customers who have payed their gate fees, if any, 
>should wear whatever they want. We have had Klingons, Star Trek personnel, 
>Gandalf the Great, Goths, fantasy knights, wannabe vampires, and many 
>anime characters over the years. They are not part of a guild or group 
>that has signed a contract stating they are to wear Tudor appropriate 
>garments or be removed from the faire. Hanford Faire is actually a FREE 
>event, so anyone can wander through wearing whatever they please, if they 
>are not part of a guild or vendor booth. That's fine with me, because I 
>have seen and helped bring many of these people into faire as an 
>historical character. My dear friend who portrays the Queen at REC South 
>went to her first faire as a fairy, and is now dressed in the finest gown 
>a Queen could wear.
>
>My comments have to do with the ACTORS who as a member of a guild (we use 
>guild system in California) signed a contract to the faire board to wear 
>Tudor appropriate garb. Even our vendors are to wear Tudor appropriate 
>garb and have appropriate booth coverings (wood, canvas, nothing modern 
>looking). Winged Fairies in two vendor booths are not Tudor appropriate, 
>period. Wearing modern nike running shoes, or fluffy bedroom slippers are 
>not Tudor appropriate. Neither is wearing paned slops, tall hats, or 
>Elizabethan ruffs as per the event rules. Our event is a Henry VIII time 
>period event. The guilds according to the contract they signed with the 
>faire boards state they understand the rules and agree to abide by them. 
>However, no one is checking on people, and no one in the faire board seems 
>to care that some people in the King's court are dressed worse than a 
>basic peasant. That's what's gotten to me after all these years.
>
>My basic motto about faire is "If it isn't fun, don't do it." I left faire 
>a few years ago because it quit being fun. I came back for other reasons, 
>and for a time it was fun. In some ways it still is. My questions stemmed 
>from wondering if this was still fun for me from a costuming standpoint, 
>or if what bothered me was me beating my head against the wall.
>
>I am thankful for many of the comments of the people on this list for 
>giving me hope that by inspiration, not browbeating, I may be able to help 
>some people at faire achieve a greater level in their costumes than their 
>current comfort level.
>
>Kimiko


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Subject: Re: [h-cost] Gothic Fitted Dress and lack of uniboob
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> Sorry for the late posting, but I saw that "What not to Wear" and I think
they were actually called chickens.  I know, weird...

Not chickens, chicken cutlets.  That's what they look like.  Really.
                   -Helen/Aidan


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Date: Wed, 06 Oct 2004 01:56:07 -0400
Subject: Re: [h-cost] Renaissance costuming dilemma
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I am sorry to sound dreadful, as I can hear from several posts in this
thread that there ARE renn faires where people are trying to create
something authentic and true to period. But I have to say most of the faires
I have been to have resembled to a greater or lesser degree the Renaissance
Shopping Mall. Is there any way to tell in advance whether a Faire is going
to be relatively good or relatively bad?

I also want to respond to the craving for a pre-Raphe faire. I have decided
my essential "period" is: Victorians playing at medieval. Maybe we should
organize the pre-Raphaelite ball in some fine old Gothic revivial house
somewhere. Unless there already is one?

Lauren

> From: "E House" <formfunc@formfunction.org>

> I have to agree, here. Someday I may want some place to wear my fun,
> decidedly INauthentic Pre-Raphaelite stuff!  Well, ok, they're sort of
> authentic in that they're made with Victorian and Edwardian
> patterning/construction methods, but that's just because that's what I
> learned to sew on...

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Subject: RE: [h-cost] Renaissance costuming dilemma
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Hi De,

At 02:21 PM 10/5/2004 -0500, you wrote:
>Perhaps mentioning that lacing allows room for change in the body more then
>a zipper. And it is harder to change a broken zipper than a lace.

She has been complaining of fit lately, so that is a good idea.

>As for the snaps, it all depends on how quick of a change is needed. If
>speed is what you need the snaps are your answer. If not, then the ties,
>hook & eyes and buttons.

It isn't for a quick change, but simply to change, between large tudor 
sleeves to elizabethan ones for the weekend, or even just to add on 
epaulettes instead of any sleeve (that one I don't quite follow). I created 
two separate bodices with one skirt, but I am realizing that two different 
gowns would actually work better.

>All it takes is one example to get the ball rolling.

I am hoping to provide the example, but she has more weight, since she 
plays our Queen at Elizabethan events. But she does listen to my 
suggestions, so maybe over the course of the winter when we all start 
working on next year's garb.

>May I recommend starting from the first layer and work your way up from
>there.
>Provide shift/chemise and shirt patterns.
>See about going together on a bolt of handkerchief linen for this project.
>Then once this is the norm or you feel the group is ready, move to the next
>layer for women, the corset. Some may want, due to their size, some
>bloomers/breeches of cotton or linen to help prevent chafing. With the men,
>the southern region of their body.
>Basically if you can make it easier for them to access and make the historic
>style they will more likely do it.

Thanks for some great suggestions. We all were chatting how our old 
chemises need replacing, and they are interested in getting linen for their 
next ones, so I will make that bolt of linen offer and work on the patterns 
for new chemises. Then see how it goes from there.

>Okay enough rambling for the day,
>De

Thanks De for your ramblings. I appreciate them.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <BD890136.7D83%lauren.walker@comcast.net>
Subject: Re: [h-cost] Renaissance costuming dilemma
Date: Wed, 6 Oct 2004 02:15:37 -0500
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Not to my knowledge, but there is a pre-raph garb yahoo group that's
depressingly inactive:
http://groups.yahoo.com/group/PreRaphaeliteGarb/

-E

----- Original Message ----- 
From: "Lauren Walker" <lauren.walker@comcast.net>
> I also want to respond to the craving for a pre-Raphe faire. I have
decided
> my essential "period" is: Victorians playing at medieval. Maybe we should
> organize the pre-Raphaelite ball in some fine old Gothic revivial house
> somewhere. Unless there already is one?

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] beaded girdles (Tudor/Elizabethan)
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At 09:19 PM 10/4/2004 -0400, you wrote:
>Of course stringing the beads on cords would be much  quicker, but I
>have these nightmare visions of a certain four year old yanking  mommy's 
>chain
>and a couple of hundred of beads flying everywhere, unless they  are
>individually knotted, which I also know how to do.


Hi Kimberley,

I was also hoping that someone else much more knowledgeable than I would 
answer your question. But I am willing to give it a go.

I am also planning on making a beaded girdle, and have been scratching my 
head as well on how it can be done. Looking at Jane Seymour's gown, and 
Catherine Parr's (formerly Jane Grey) gown, it looks more like beading on a 
cord. I need better images than I have found online, so I will need to scan 
in a couple of book images to get better details. The modern beads on eye 
wire however doesn't look like the portraits, but then again the portraits 
don't usually show any means of attachment on the carcanets or the gold & 
precious stones on the upper parts of the bodice either.

I have seen at faire the girdles done with rattail cord and silk cord. I 
have seen girdles sewn onto a backing of felt. I have also seen Christmas 
ornamental strands as well (they do not last more than a day, usually). 
Silk is strong, so children pulling on them will have to pull hard to break 
multiple silk strands. If you go with silk strands, I would suggest 
knotting each group of beads, so if they do come undone, only a few beads 
will fall. I have also been told to use nylon beading threads as they are 
strong, and it does kinda look like silk strands.

However, I have a toddler and he pulls hard, so I may go with the modern 
beading wire to survive the efforts of my son to pull the darn thing apart. 
I know it isn't period accurate, but it has to survive my son. He loves 
yanking all my sparklies.

I wish I had more info to share with you.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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References: <8AFF1656DE4AB348973023624E8F40192C3B4E@MDX-CLX-DC1.uni.mdx.ac.uk>
Subject: Re: [h-cost] Gothic Fitted Dress and lack of uniboob
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> Shouldn't it be the other way around - fit the lining to give you the
> correct shape and hold the shape and have the outer fabric over that to
> give the pretty outer look of the garment?

The lining won't give the right shape to cut the main fabric from is the
problem. I will never find a natural fabric with the same lack of stretch
the main fabric does. DO the pattern won't be the same.

What is likely to be the best way is to treat the two layers as one, or else
the lining will not match the main fabric at all. I mean.. at all.

I think a heavy poly organza might work as a substitute muslin to know how
to cut this stuff first.

It's no use fitting a really nice lining then not being able to get the main
fabric to work with it.

And it seriously won't.

Trust me on this.

I have the fabric, I know how to cut for my shape (which needs bugger all
support) and I've tried this sort of thing before with not very pretty
results doign the lining first then the outer fabric.

I will probbaly wind up with something like the Golden Gown which was a slip
on thing and not likely to have been made to be terribly fitted. (and I saw
on video a reconstruction of it... wow did it look heavy;) )

It all depends on how it all works together.

michaela de bruce
http://glittersweet.com


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Date: Wed, 06 Oct 2004 11:34:38 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: RE: [h-cost] Gothic Fitted Dress and lack of uniboob
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> Sorry for the late posting, but I saw that "What not to Wear" 
> and I think they were actually called chickens.  I know, weird...

"Chicken fillets" becasue they look like skinless chicken fillets
available plastic wrapped in supermarkets.

Teddy
 
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] beaded girdles (Tudor/Elizabethan)
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Status: RO

I would recommend the beading nylon. There are at least 4 thread sizes, ooo
is the thinnest. Go for the thickest thread that will allow 2 threads and a
needle to go through the bead. It is your judgment call on whether you
double the thread or have a single strand. You could knot after every bead,
every other bead or however many beads you wouldn't mind loosing if the
strand was broken. If your beads are regular pearl size then you might want
to consider some gold filigree beads to cover the knots.
I do not recommend the wire as with both the beading nylon and the wire,
they have their breaking point. If the child achieves breakage, there is a
greater chance of injure with the wire then with the nylon.
I have seen a situation were a child broke a wire strand necklace, somehow
the wire cut the child.
I do not know the ratio of children cut by wire due to breakage so I do not
know how great the possibility is. I am just saying this can happen with
wire.
By the way, you do not want the ooo thread unless your working with sizes
16 - 20 beads.
Also, if you have a powwow nearby you might want to check it out as you can
get some good deals on beads.
When I went to powwows there was a trader who sold bead hanks for $2 and $3
depending on the type. A hank is usually an equivalent to 2 of the seed bead
vials at hobby lobby.
Just an idea that I suggested to someone with similar concerns, get a used
or new cat collar that has the special release clasp and use the clasp on
the collar as the clasp of the girdle in which it would connect in the back
of the costume. This allows the girdle as a whole to come off in one piece
before breakage (this does not come with a 100% guarantee).
Finally, there is a company that makes braided beading thread, Beadsmith.
They have two thread, one tested for 10lbs. and the other 20lbs. I have not
used this probduct so I don't know the pros and cons other than the trying
to prevent unraveling of the braid.

De

-----Original Message-----
At 09:19 PM 10/4/2004 -0400, you wrote:
>Of course stringing the beads on cords would be much  quicker, but I
>have these nightmare visions of a certain four year old yanking  mommy's
>chain
>and a couple of hundred of beads flying everywhere, unless they  are
>individually knotted, which I also know how to do.


Hi Kimberley,

I was also hoping that someone else much more knowledgeable than I would
answer your question. But I am willing to give it a go.

I am also planning on making a beaded girdle, and have been scratching my
head as well on how it can be done. Looking at Jane Seymour's gown, and
Catherine Parr's (formerly Jane Grey) gown, it looks more like beading on a
cord. I need better images than I have found online, so I will need to scan
in a couple of book images to get better details. The modern beads on eye
wire however doesn't look like the portraits, but then again the portraits
don't usually show any means of attachment on the carcanets or the gold &
precious stones on the upper parts of the bodice either.

I have seen at faire the girdles done with rattail cord and silk cord. I
have seen girdles sewn onto a backing of felt. I have also seen Christmas
ornamental strands as well (they do not last more than a day, usually).
Silk is strong, so children pulling on them will have to pull hard to break
multiple silk strands. If you go with silk strands, I would suggest
knotting each group of beads, so if they do come undone, only a few beads
will fall. I have also been told to use nylon beading threads as they are
strong, and it does kinda look like silk strands.

However, I have a toddler and he pulls hard, so I may go with the modern
beading wire to survive the efforts of my son to pull the darn thing apart.
I know it isn't period accurate, but it has to survive my son. He loves
yanking all my sparklies.

I wish I had more info to share with you.

Kimiko



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Subject: [h-cost] Re: Renaissance costuming dilemma
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This is just my opinion of the Spanish King's outfit but EEEWWW! what
horrid
material combination.
The Queen's isn't bad though the ruff (name escapes me, thingy fanning
at
the back of her head, probably from trauma of seeing the King's
outfit)
could be of a thinner lace.

De
>>>>>>>>>>>>>>>>>>>>>>
ROFTL! All materials, and trim, and accessories, had to be approved by
the aforementioned Entertainment Director, who was probably a magpie in
his last life :).  He also likes his 'couples' each year to match like
salt & pepper shakers.  I think this is a theatricality but got very
expensive for performers that got cast as new members of the Royal
Family this year.  The Royals all had matching costumes from last year,
and then all had to make new ones this year too, so new members had to
make 2 court costumes.  

The Spanish Queen is a talented costumer (http://www.yosa.com/) and did
a very good job with her costume (can you see the 2 large pockets on the
skirt?).  It also had to have one shoulder breakaway at the end of the
day as part of this year's scenario plot.  Her usual costuming style is
more Victorian and she made a real effort to be closer to late 16th
century style.  We just finished our 5th weekend and the costume is
holding up beautifully, always one of my tests :).  

Most performers at KCRF do not get paid anything until their 2nd or 3rd
year participating and even then it barely covers gas to and fro during
the run of faire.  Yes, Royals get paid a little more but when my
husband was King we were lucky I could do his costume as it usually
barely covered his fabric, trim & accessories.  Part of the reason he
decided not to do it anymore was the new-costume-every-bloody-year
policy of the ED.  How many Henry VIII outfits can one man have after
all!  He decided to stop at 5 :) :).

Catherine



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Subject: Re: [h-cost] Gothic Fitted Dress and lack of uniboob
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that's it, chicken cutlets.  Thank you!

>>> hpinto@mindspring.com 10/6/2004 1:15:55 AM >>>


> Sorry for the late posting, but I saw that "What not to Wear" and I
think
they were actually called chickens.  I know, weird...

Not chickens, chicken cutlets.  That's what they look like.  Really.
                   -Helen/Aidan


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Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 804
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I seem to be missing several Digests; 799, 800, 801, 802 & 803

If anyone still has them and could forward them to me I would
appreciate it.

Thanks,
Catherine
ckinsey@kumc.edu
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Subject: [h-cost] Re: [SCA-Garb] Janet Arnold - "biography of the day"
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Which portrait is that behind her in the photo?

Also, does anyone know of a painting of Queen Elizabeth in the armour she 
wore when she greeting the Spanish Armada's? Or images of that armour?

       Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "Terri Morgan" <nothingbutadame@inthe.sca.org>
To: "Tines of the Trident" <SCA-atlantia-marinus@yahoogroups.com>; "Merry 
Rose" <atlantia@atlantia.sca.o>; <Authentic_SCA@yahoogroups.com>; 
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Sent: Wednesday, October 06, 2004 9:29 AM
Subject: [SCA-Garb] Janet Arnold - "biography of the day"


:
: I'm subscribed to Oxford's "Biography of the Day" and look who popped up
: this morning:
:
: http://www.oxforddnb.com/public/lotw/1.html
:
:
: Hro?ny
: --
: Dame Hro?ny Rognvaldsdottir, OP, OL
: Great Dark Horde, Barony of Marinus
: Misericordia Fortitudo Suprema Est
: nothingbutadame@inthe.sca.org
:
:
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And the article mentions "a fourth volume of Patterns of Fashion 
(forthcoming)"  Have there been any details released about this?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
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The fourth volume is supposed to be shirts and chemises (if I remember correctly) and while I've heard rumors that it's either out or about to come out, I haven't seen it yet myself.


Karen

-- Cynthia Virtue <cvirtue+dated+1112627833.7d3238@thibault.org> wrote:
And the article mentions "a fourth volume of Patterns of Fashion 
(forthcoming)"  Have there been any details released about this?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
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Thanks for the link to the biography, it's very informative!

I have no idea what the portrait is behind her, but the style of the hand strikes me as 17th century....could be way off on that.....

There aren't any portraits of Elizabeth wearing armor, or if there are they are moldering away in some castle attic. During years of research on Elizabethan costume and a recent concentration on Elizabeth herself, I haven't found any published portraits with armor. I'm sure if one existed, it would be known of at least, and Janet probably would have published it in QE Unlock'd or Roy Strong would have put it in his book which does nothing but trace the evolution of Elizabeth's image in her portraits. The only images I've seen are later artwork depicting her in armor at Tilbury in a very romantic way. I doubt she had a personal set of armor, being female and all, but she had an extensive royal collection to borrow from- maybe she used one of her father's old cuirasses or one of Edward's. She could have also borrowed one from a courtier. There is a set of armor at Windsor Castle which is now the official armor of the Queen's Champion but was originally that of one of Elizabeth!
 's Favorites- Sir Christopher Hatton. 


Karen

-- "Chiara" <chiara@io.com> wrote:
Which portrait is that behind her in the photo?

Also, does anyone know of a painting of Queen Elizabeth in the armour she 
wore when she greeting the Spanish Armada's? Or images of that armour?

       Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "Terri Morgan" <nothingbutadame@inthe.sca.org>
To: "Tines of the Trident" <SCA-atlantia-marinus@yahoogroups.com>; "Merry 
Rose" <atlantia@atlantia.sca.o>; <Authentic_SCA@yahoogroups.com>; 
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Sent: Wednesday, October 06, 2004 9:29 AM
Subject: [SCA-Garb] Janet Arnold - "biography of the day"


:
: I'm subscribed to Oxford's "Biography of the Day" and look who popped up
: this morning:
:
: http://www.oxforddnb.com/public/lotw/1.html
:
:
: Hro?ny
: --
: Dame Hro?ny Rognvaldsdottir, OP, OL
: Great Dark Horde, Barony of Marinus
: Misericordia Fortitudo Suprema Est
: nothingbutadame@inthe.sca.org
:
:
:
:
: ------------------------ Yahoo! Groups Sponsor --------------------~-->
: Make a clean sweep of pop-up ads. Yahoo! Companion Toolbar.
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: --------------------------------------------------------------------~->
:
: Helpful email addresses:
:  Subscribe:    SCA-Garb-subscribe@yahoogroups.com
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> > Shouldn't it be the other way around - fit the lining to give you
the 
> > correct shape and hold the shape and have the outer fabric over that

> > to give the pretty outer look of the garment?
> 
> The lining won't give the right shape to cut the main fabric 
> from is the problem. I will never find a natural fabric with 
> the same lack of stretch the main fabric does. SO the pattern 
> won't be the same.

Bugger!  What a nuisance!

> It all depends on how it all works together.


Good luck!

Teddy 
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>From an old h-costume posting:
*snip*

"the new volume will be published by Macmillan as part of the existing
series of "Patterns of Fashion", but that we > should not expect to
see it until late 2004 or early 2005."

It's supposed to be on linens--shirts, coifs, ruffs, collars, etc.
That's all that I remember. Anyone have any newer info?

kate

----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1112627833.7d3238@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 06, 2004 11:19 AM
Subject: Re: [h-cost] Janet Arnold - "biography of the day"


> And the article mentions "a fourth volume of Patterns of Fashion
> (forthcoming)"  Have there been any details released about this?
>
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
>
> (8.) The "independent and non-partisan" Commission on Presidential
> Debates is neither independent nor non-partisan.  Walter Cronkite
called
> CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice,
NPR
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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I just sent the requested digests.

Bob Dorr -- Robert of Stonemarche

Why yes, I do keep them all as a resource. Doesn't everyone? :)


> Message: 12
> Date: Wed, 06 Oct 2004 08:34:16 -0500
> From: "Catherine Kinsey" <ckinsey@kumc.edu>
> Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 804
> To: <h-costume@indra.com>
> Message-ID: <s163ae13.049@kumc-smtpout.kumc.edu>
> Content-Type: text/plain; charset=US-ASCII
> 
> I seem to be missing several Digests; 799, 800, 801, 802 & 803
> 
> If anyone still has them and could forward them to me I would
> appreciate it.
> 
> Thanks,
> Catherine
> ckinsey@kumc.edu


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Subject: [h-cost] Re: chenille stumpwork
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Bjarne, thank you once again for sharing your pictures. That is spectacular.
Of course, I had been planning to finish some of my other projects (A German
reliquery bag, a doublet, an 1800's men's waistcoat, and some viking garb)
But now I want to start on my stumpwork project more then ever.

This is inspiring. Thank you again so much for posting it.

Bob Dorr--Robert of Stonemarche, who needs more projects like he needs a
hole in the head. :)

> Message: 7
> Date: Tue, 5 Oct 2004 23:40:39 +0200
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Subject: [h-cost] chenille stumpwork
> To: <h-costume@indra.com>
> Message-ID: <001101c4ab23$f53f7c00$4096fea9@CPQ21932199711>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hi.
> Today i succeded trying to make the chenille thread on stumpwork. I made a
> small flower with chenille.
> You can se here:
> http://www.my-drewscostumes.dk/helms5.htm
> This is the very first flower i ever made in stumpwork, so i think it will
> be good when i have practiced a little.
> I couched on the chenille to the surface with another thread, and it
worked.
>
> Bjarne
>


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Subject: [h-cost] Oxford DNB for J. Arnold
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I'm a fool, I deleted the link to the Arnold DNB page after I printed it out
but before I checked to see that I had actually printed the whole article.
Would someone with more foresight than I have please send the link again?

LynnD
Shaking my head at myself



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Subject: [h-cost] OT, for those with costume cats...
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Since so many of us seem to have the obligatory cat help with our sewing...

If yer cat has a nasty habit of snagging your nice fabric with its claws,
those little plastic nail caps solve the problem wonderfully! There's
probably more than one company that makes them, but this is the only one I
know of:
http://www.softpaws.com
Not affiliated, yada. I believe PetSmart resells these, btw, but I just
order em. They can also be used for dogs, ferrets, etc.

I've been using them for about 3 months, and since I started Judgement has
shed white hair all over everything, and once chewed up a few inches of
china silk, but she hasn't managed to snag a single thing, even with
tempting drapey gowns hung all over the living room waiting to be
photographed! =}

-E
(Her full name is Judgement Sunrise, after a Phil Hendrie character's
favorite song. "Good Judgement!" and "Bad Judgement!" are just a happy
accident.)

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Date: Wed, 06 Oct 2004 13:51:07 -0700
To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Renaissance costuming dilemma
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At 08:31 AM 10/6/2004 -0500, you wrote:
>How many Henry VIII outfits can one man have after
>all!  He decided to stop at 5 :) :).
>
>Catherine


The guy who plays out King Henry VIII and his partner have two 10' racks of 
garb, mostly Henry's style for various levels of court, guards, etc. He 
also has a few ladies garb, and a couple of outfits for Elizabethan faires. 
For the King's finery alone I think he has a dozen +/-. But then he's been 
playing King for over a decade or more, not including a few years he took 
for sabbatical. The latest one for this year was just sumptuous in royal 
purple and gold patterned material. His codpieces are always grandly 
jeweled, and he even has one that plays music when you press the jewel in 
the front; Greensleeves if I recall correctly.

Kimiko


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Subject: [h-cost] Pepys diary costume note (1661)
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"Mrs. Margaret Pen, this day come to church in a new flowered satin suit 
that my wife helped to buy her the other day."

http://www.pepysdiary.com/archive/1661/10/06/index.php

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
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From: Karolee Smiley <karoleesmiley@earthlink.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT, for those with costume cats...
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E House wrote:

>Since so many of us seem to have the obligatory cat help with our sewing...
>
>If yer cat has a nasty habit of snagging your nice fabric with its claws,
>those little plastic nail caps solve the problem wonderfully! There's
>probably more than one company that makes them, but this is the only one I
>know of:
>http://www.softpaws.com
>Not affiliated, yada. I believe PetSmart resells these, btw, but I just
>order em. They can also be used for dogs, ferrets, etc.
>
>I've been using them for about 3 months, and since I started Judgement has
>shed white hair all over everything, and once chewed up a few inches of
>china silk, but she hasn't managed to snag a single thing, even with
>tempting drapey gowns hung all over the living room waiting to be
>photographed! =)
>  
>
Interesting.
Are they easy to apply?
I have a living cuisinart (sp???)  I'm just wondering if this will save 
my fabric or put me in the hospital.
Karolee
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From h-costume-bounces@indra.com  Wed Oct  6 21:50:08 2004
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Subject: [h-cost] Re:  Queen Elizabeth in armor?
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I don't remember ever seeing a picture of her in full armor, but I could 
have sworn that there was one out there with her wearing a breastplate 
to her specs... similar to some of our "Lady Liberty" pictures, though 
with the Elizabethian skirt.  I could be completely mistaken, of course.

-Elisabeth
(sigh... my brain's still trying to come up with the period word that 
describes the scenes and mini-pageant/plays that some guilds would 
sponsor and/or put on during celebrations in London and other larger towns)


Karen wrote:

>Thanks for the link to the biography, it's very informative!
>
>I have no idea what the portrait is behind her, but the style of the hand strikes me as 17th century....could be way off on that.....
>
>There aren't any portraits of Elizabeth wearing armor, or if there are they are moldering away in some castle attic. During years of research on Elizabethan costume and a recent concentration on Elizabeth herself, I haven't found any published portraits with armor. I'm sure if one existed, it would be known of at least, and Janet probably would have published it in QE Unlock'd or Roy Strong would have put it in his book which does nothing but trace the evolution of Elizabeth's image in her portraits. The only images I've seen are later artwork depicting her in armor at Tilbury in a very romantic way. I doubt she had a personal set of armor, being female and all, but she had an extensive royal collection to borrow from- maybe she used one of her father's old cuirasses or one of Edward's. She could have also borrowed one from a courtier. There is a set of armor at Windsor Castle which is now the official armor of the Queen's Champion but was originally that of one of Elizabet!
 h!
> 's Favorites- Sir Christopher Hatton. 
>
>
>Karen
>
>-- "Chiara" <chiara@io.com> wrote:
>Which portrait is that behind her in the photo?
>
>Also, does anyone know of a painting of Queen Elizabeth in the armour she 
>wore when she greeting the Spanish Armada's? Or images of that armour?
>
>       Chiara
>



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Subject: Re: [h-cost] OT, for those with costume cats...
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Hrm--medium.  Basically, you put a drop or two of their glue in the bottom
of each nail cap, trim the claws, then slide the nail caps on each freshly
trimmed claw. For me, the hard part is trimming the claws; she barely even
notices when I actually slide the caps in place, unless she's so fussed over
the trimming that she doesn't want to be anywhere near me for any reason. If
your cat doesn't become absolutely enraged by a claw trimming, it sounds
like it'd be worth a try!

-E

----- Original Message ----- 
From: "Karolee Smiley" <karoleesmiley@earthlink.net>
> Interesting.
> Are they easy to apply?
> I have a living cuisinart (sp???)  I'm just wondering if this will save
> my fabric or put me in the hospital.
> Karolee

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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] A Thank You: {was Renaissance costuming dilemma}
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At 06:51 PM 10/5/2004 -0700, you wrote:
>My dear friend who portrays the Queen at REC South went to her first faire 
>as a fairy, and is now dressed in the finest gown a Queen could wear.


To whomever it was that forwarded my e-mail info to Gay Linn, thank you 
very much. I had not known she had moved south to the LA area, and she 
contacted me tonight, and I am very grateful to again be in touch with her. 
One should always have dear friends to treasure, no matter where they are.

Thank you again.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
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Masques?

Kate
************
> (sigh... my brain's still trying to come up with the period word that
> describes the scenes and mini-pageant/plays that some guilds would
> sponsor and/or put on during celebrations in London and other larger
towns)
>
>


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
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On Thu, 7 Oct 2004, Kate Pinner wrote:

> Masques?
> ************
> > (sigh... my brain's still trying to come up with the period word that
> > describes the scenes and mini-pageant/plays that some guilds would
> > sponsor and/or put on during celebrations in London and other larger
> towns)

I'm thinking mystery plays, but there's another word (or several) that are
escaping me right now.

--Robin

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT, for those with costume cats...
Date: Thu, 7 Oct 2004 00:41:54 -0400
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On Wednesday 06 October 2004 8:32 pm, Karolee Smiley wrote:
> E House wrote:
> >Since so many of us seem to have the obligatory cat help with our
> > sewing...

I cannot recall hearing of a costumer with pets that *didn't* have at least 
one cat, but that may just be selective memory kicking in.  :-)

> >
> >If yer cat has a nasty habit of snagging your nice fabric with its claws,
> >those little plastic nail caps solve the problem wonderfully! There's
> >probably more than one company that makes them, but this is the only one I
> >know of:
> >http://www.softpaws.com
> >Not affiliated, yada. I believe PetSmart resells these, btw, but I just
> >order em. They can also be used for dogs, ferrets, etc.

If Sugar (my cat) posed a real problem in this regard, I'd try it, since she 
sure won't let me *trim* her claws (I make the vet do it when she gets her 
checkup, because it takes a minimum of two people; one to hold the cat fully 
extended by all four paws and one to do the actual trimming.)  



> >I've been using them for about 3 months, and since I started Judgement has
> >shed white hair all over everything, and once chewed up a few inches of
> >china silk, but she hasn't managed to snag a single thing, even with
> >tempting drapey gowns hung all over the living room waiting to be
> >photographed! =)

Sugar likes to nibble paper (she once did quite a bit of nibbling on a pattern 
I had spread on the floor) but does not damage cloth, even by accident.  She 
just likes to walk around on it, and then lie down.  


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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From h-costume-bounces@indra.com  Thu Oct  7 00:33:17 2004
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From: "Kate Pinner" <pinner@mccc.edu>
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Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
Date: Thu, 7 Oct 2004 00:31:25 -0400
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Yeah, mystery plays is what we call them; don't know if that's what they
called them.  Masques are later.
Kate
----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 07, 2004 12:27 AM
Subject: Re: [h-cost] Re: Queen Elizabeth in armor?


>
> On Thu, 7 Oct 2004, Kate Pinner wrote:
>
> > Masques?
> > ************
> > > (sigh... my brain's still trying to come up with the period word that
> > > describes the scenes and mini-pageant/plays that some guilds would
> > > sponsor and/or put on during celebrations in London and other larger
> > towns)
>
> I'm thinking mystery plays, but there's another word (or several) that are
> escaping me right now.
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>


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Date: Wed, 6 Oct 2004 21:34:53 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] fur-lined dress
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At 10:03 AM -0500 10/5/04, E House wrote:
>Chris, those 2 Clouet pictures you posted are exactly the sort of
>thing I'd like to do... I wonder if I can justify using a male sort of
>decoration on a female gown.

I'd certainly classify it as plausible, anyway, since I also have 
some portraits of Italian women wearing the same sort of couched-cord 
interlace.

(Well, the one I can easily find, Emilia di Spilimbergo, is from 
about 1560, which is a bit late for you, but at least we know cord 
interlace isn't exclusively male :)
http://www.nga.gov/cgi-bin/pimage?1224+0+0
with a slightly better look at
http://www.nga.gov/cgi-bin/pimage?1224+0+2

And here's a French one, 
http://gallery.euroweb.hu/art/m/master/moulins/anne_aus.jpg -- the 
young Margaret of Austria, from about 1490. She has some sort of 
interlaced (?) trim along the edge of the black lappets of her 
headdress. Interesting that her gown is so plain and her headdress so 
heavily decorated!

>Has anyone--Cynthia, perhaps?--got a clear idea of how metallic cord from
>this time period was made? I've read that it would have been something like
>a narrow strip of gold leaf coiled around thread; I hope that's what it's
>like, because I can find something like that pretty easily. In fact, if I'm
>feeling really stubborn, I can take some silk thread and do the wrapping
>myself! =} (I've got a bunch of spun silk that I stupidly ordered, when I
>should have gotten reeled.)

The thread that the cord is made of would definitely have been made 
in the way you describe. You can get quite a variety of different 
"looks," too, depending on how close together your wraps are on the 
thread. I've seen a few 17th century pieces with metallic thread, and 
some threads are wrapped so closely that almost no thread shows, 
while others are wrapped so loosely that they almost look like that 
Christmas-glitter crochet-cotton stuff that was so popular in the 
1970's.

However, I would expect a cord to be made out of several to many of 
these threads, braided, plied, or woven together in some way. I know 
that a lot of medieval cords have turned out to be finger-loop 
braided, for instance, and there's a 16th-century (or early 17th) 
pattern book with instructions and samples of a lot of them. Francois 
I's cords in the Clouet portrait look like they are simply plied 
cords.

Besides finger-loop braiding and plying, plausible cord-making 
techniques that I know of also include braiding a cord using bobbins 
(rather like the Japanese kumihimo technique), weaving a narrow strip 
on a simple loom (such as a rigid-heddle or belt loom), and tubular 
tablet-weaving (which produces a nice hollow cord). These are all 
techniques that we know were used for _something_ in the relevant 
period, but I don't know if we have direct evidence of which types 
were used on clothing. I would also not be surprised to see 
fabric-covered cords or pipings used to make corded designs, and I 
think I've seen some paintings where it looks as though that's what 
was done.

>The metal doodads are really tempting me; I'm pretty sure either fire
>mountain gems or shipwreck beads have something that I could stand and
>afford.

If you're aiming for an authentic look, I know you'll want to be sure 
you're not over-glittery -- that's a mistake that's all too common, 
especially when people focus on royalty as their only models. Royals 
are _supposed_ to be "over the top" -- magnificence is part of their 
job description <g>! Also, if your gown is serving as "background" 
for lots of nifty accessories, you don't want to make it _too_ 
distracting. ;-)

(Digression: If you look closely at the Virgin at 
http://gallery.euroweb.hu/art/f/fouquet/madonna.jpg and enlarge the 
view a bit .... she's not wearing any decoration sewn onto her gown, 
but she _is_ wearing a rather intriguing-looking braided girdle!)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT, for those with costume cats...
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On Wednesday 06 October 2004 10:09 pm, E House wrote:
> Hrm--medium.  Basically, you put a drop or two of their glue in the bottom
> of each nail cap, trim the claws, then slide the nail caps on each freshly
> trimmed claw. For me, the hard part is trimming the claws; she barely even
> notices when I actually slide the caps in place, unless she's so fussed
> over the trimming that she doesn't want to be anywhere near me for any
> reason. If your cat doesn't become absolutely enraged by a claw trimming,
> it sounds like it'd be worth a try!

Boy, it's a good thing I don't have a snagging problem with *my* cat--I 
wouldn't survive the trimming!  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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On Thu, 7 Oct 2004, Kate Pinner wrote:

> Yeah, mystery plays is what we call them; don't know if that's what they
> called them.

Yes, it's a period term. Another is "miracle plays," I think, but I
remember "mystery" from my college textbooks on medieval drama.

--Robin

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At 09:34 PM 10/6/2004 -0700, you wrote:
>I would also not be surprised to see fabric-covered cords or pipings used 
>to make corded designs, and I think I've seen some paintings where it 
>looks as though that's what was done.


The painting of young Prince Edward seems to be done in the fabric covered 
piping method.
http://www.tudor-portraits.com/Edward3.jpg

fwiw,

Kimiko


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At 03:25 PM 10/6/2004 +0000, you wrote:
>There is a set of armor at Windsor Castle which is now the official armor 
>of the Queen's Champion but was originally that of one of Elizabeth!
>  's Favorites- Sir Christopher Hatton.


Which Queen's champion are you speaking of? George Clifford, Earl of 
Cumberland, or Sir Henry Lee, her first Champion of the Tilts? And why was 
it originally thought to be Sir Hatton's?

My husband portrays George Clifford, which is why I am curious.

Kimiko


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Subject: [h-cost] Florida panhandle fabric stores
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I'll be visiting my parents this month and thought I'd check out any 
fabric stores.  They live in Niceville (near Eglin AFB).  Pensecola is a 
reasonable drive.  I found a few stores searching Yahoo yellow pages, 
but it's not apparent from a phone listing whether or not the store is 
worth the drive.

I won't have access to this e-mail account (or list) after Friday (Oct 
8th).  You can respond privately to:  charlene_tx@yahoo.com .

TIA,
--Charlene

-- 
Courtesy is owed.  Respect is earned.  Love is given.
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Subject: [h-cost] vintage clothing sites?
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What are your favorite vintage clothing sites, both museums and dealers?

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

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re:  Queen Elizabeth in armor?
Date: Thu, 7 Oct 2004 01:46:21 -0500
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Is it possible that you are thinking of this portrait?

http://ladysarafina.home.att.net/liz3goddesses.JPG

I'll see If I can get a better picture.

De

-----Original Message-----
I don't remember ever seeing a picture of her in full armor, but I could 
have sworn that there was one out there with her wearing a breastplate 
to her specs... similar to some of our "Lady Liberty" pictures, though 
with the Elizabethian skirt.  I could be completely mistaken, of course.

-Elisabeth

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] beaded girdles (Tudor/Elizabethan)
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At 07:03 AM 10/6/2004 -0500, you wrote:
>I have seen a situation were a child broke a wire strand necklace, somehow
>the wire cut the child.


Thank you for the warning. I will indeed stay away from the wire. Better 
safe than sorry.

Kimiko


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To: Historical Costume <h-costume@indra.com>
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Subject: RE: [h-cost] Re:  Queen Elizabeth in armor?
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>http://ladysarafina.home.att.net/liz3goddesses.JPG

She's not the one in armor.

>I'll see If I can get a better picture.

The lady on the right is sitting on an Elizabethan shirt.  I'haven't looked 
at this picture in a while, but I seem to recall that it's embroidered.

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

              //// \\\
             ////-@@\\\
            ((((   7 )))
             (((  <> ))))
                )   ((((((
           /----\   /---\))

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Subject: Re: [h-cost] OT, for those with costume cats...
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----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 07, 2004 12:41 AM
Subject: Re: [h-cost] OT, for those with costume cats...


> On Wednesday 06 October 2004 8:32 pm, Karolee Smiley wrote:
> > E House wrote:
> > >Since so many of us seem to have the obligatory cat help with our
> > > sewing...
>
> I cannot recall hearing of a costumer with pets that *didn't* have at
least
> one cat, but that may just be selective memory kicking in.  :-)

I don't have cats. I have two birds,  an incredibly bossy African Grey
parrot who orders me around and a cockatiel who sings to me while I sew.

My DH hates cats, I don't want my birds to become kitty stew (though I have
been known to threaten parrot stew for dinner) and I live in a rental house.
No cats for me.

BTW, birds find pins with bright yellow heads most amusing and fun to pull
out of fabric-which is also delightfully fun  (and easy!) to bite holes
into. I'm tempted to train the African Grey to make the holes for
eyelets--talk about fast!

Dianne


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Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 07, 2004 12:27 AM
Subject: Re: [h-cost] Re: Queen Elizabeth in armor?


> 
> On Thu, 7 Oct 2004, Kate Pinner wrote:
> 
> > Masques?
> > ************
> > > (sigh... my brain's still trying to come up with the period word that
> > > describes the scenes and mini-pageant/plays that some guilds would
> > > sponsor and/or put on during celebrations in London and other larger
> > towns)
> 

   I think you are thinking of tableaux.

Dianne


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Subject: Re: [h-cost] OT, for those with costume cats...
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In a message dated 10/7/2004 12:37:52 AM Eastern Standard Time, 
cathy@thyrsus.com writes:
Boy, it's a good thing I don't have a snagging problem with *my* cat--I 
wouldn't survive the trimming!  :-)
I've been surprised how well my cat takes it--I use baby-sized nail nippers. 
It isn't her favorite thing, but she does tolerate it.
Ann Wass
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Date: Thu, 07 Oct 2004 07:59:22 -0400
To: Historical Costume <h-costume@indra.com>
From: "J.E. Marshall" <jemarshall@fuse.net>
Subject: Re: [h-cost] OT, for those with costume cats...
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All three of my cats are declawed in front.  I had it done long before I 
really took up sewing, but right before I got my new sofa.  I do still trim 
their back claws.  I usually cradle them like a baby and quickly nip off 
the tips.  They usually don't even try to scratch at my fabric, but they do 
love to lay across the cutting line.

Jennifer

At 07:05 AM 10/7/04 -0400, you wrote:
>In a message dated 10/7/2004 12:37:52 AM Eastern Standard Time,
>cathy@thyrsus.com writes:
>Boy, it's a good thing I don't have a snagging problem with *my* cat--I
>wouldn't survive the trimming!  :-)
>I've been surprised how well my cat takes it--I use baby-sized nail nippers.
>It isn't her favorite thing, but she does tolerate it.
>Ann Wass
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


If you are squeamish, don't prod the beach rubble.
                                 Sappho 

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-- 

I had to have mine declawed (even though I too limited it to just the front),
once he discovered how much fun it was to get a running start and then Pounce
and Slide on any fabric I was trying to cut out.  And I think he was having a
contest with himself to find out how far he could slide each time.
It was also where I discovered that 1) it didn't have to be on the floor, he
could Pounce and Slide on fabric on a table,  and 2) apparently, in his mind, a
table with fabric on it did not have the same Stay Off rule as a table with
dishes - even when it is the same table!   Rowena

Quoting "J.E. Marshall" <jemarshall@fuse.net>:

> All three of my cats are declawed in front.  I had it done long before I 
> really took up sewing, but right before I got my new sofa.  I do still trim 
> their back claws.  I usually cradle them like a baby and quickly nip off 
> the tips.  They usually don't even try to scratch at my fabric, but they do 
> love to lay across the cutting line.
> 
> Jennifer
> 
> >cathy writes:
> >Boy, it's a good thing I don't have a snagging problem with *my* cat--I
> >wouldn't survive the trimming!  :-)
> >I've been surprised how well my cat takes it--I use baby-sized nail
> nippers.
> >It isn't her favorite thing, but she does tolerate it.

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The way it worked- according to the docent at Windsor Castle- was that
while Sir Christopher Hatton was never the Queen's champion, after his
death, his suit of armor was given to the Queen. It became part of the
Royal Armory and a subsequent monarch (don't know which one) decided to
make that suit the official armor of the Monarch's Champion. Today it is
the official, ceremonial armor of the Queen's Champion, I don't believe
that it was ever used as such during Elizabeth's reign but I think it's
pretty cool that Kit Hatton is still serving the Crown all these years
later.... in at least an indirect way. 



Karen



On Wed, 06 Oct 2004 22:28:00 -0700 Kimiko Small <kimiko@kimiko1.com>
writes:
> At 03:25 PM 10/6/2004 +0000, you wrote:
> >There is a set of armor at Windsor Castle which is now the official 
> armor 
> >of the Queen's Champion but was originally that of one of 
> Elizabeth!
> >  's Favorites- Sir Christopher Hatton.
> 
> 
> Which Queen's champion are you speaking of? George Clifford, Earl of 
> 
> Cumberland, or Sir Henry Lee, her first Champion of the Tilts? And 
> why was 
> it originally thought to be Sir Hatton's?
> 
> My husband portrays George Clifford, which is why I am curious.
> 
> Kimiko
> 
> 
> _______________________________________________
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> 
> 
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His codpieces are always grandly 
jeweled, and he even has one that plays music when you press the jewel
in 
the front; Greensleeves if I recall correctly.

Kimiko
>>>>>>>>>>>>>>>>>>>>>>>

How incredibly appropriate :)!

Our ED would not allow codpieces on the court when DH was king.  They
could wear tights w/codpieces, but no constructed ones to match
costumes, etc.  He has tons of 'gypsy boys' running around in nothing
but little vests & said tights w/ codpieces, but no fancy codpieces in
the court.  Again; sigh.

Catherine

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From: "Catherine Kinsey" <ckinsey@kumc.edu>
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Subject: [h-cost] Re: OT, for those with costume cats...
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I have a problem with the 2-year-old cat that wants to lie right behind
my machine and bat at the needle as it goes up and down.  He thinks it
is a game for me to toss him to the floor, he jumps back up and trys to
slide back in place, toss, jump, toss, jump, etc.  He also thinks that
when I am cutting out I must be doing it solely for his entertainment
and he will pounce right in the middle of the fabric and it is back to
the toss, jump, toss, jump game.  Hmmm, I'm starting to see a pattern
:).  He was a stray we adopted so occasionally I have to watch out for
him wanting to mark a piece of fabric (even though he is neutered).  The
old man (8 years) just occasionally wants some attention if I have been
on a sewing binge, then he is happy to go on his way.  Not to much
trouble with either of them snaging fabric, which is probably a good
thing as I would never be able to get near the older one with those tips
:) :).

Catherine
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From: "Chiara" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPKEJKDCAA.otsisto@socket.net>
Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
Date: Thu, 7 Oct 2004 09:04:46 -0500
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That is way too small for me to get any real detail out of it. What is the 
name of the portrait and where could I find it?

If you have not guessed it by now, yes, I am making armour.

       Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 07, 2004 1:46 AM
Subject: RE: [h-cost] Re: Queen Elizabeth in armor?


: Is it possible that you are thinking of this portrait?
:
: http://ladysarafina.home.att.net/liz3goddesses.JPG
:
: I'll see If I can get a better picture.
:
: De
:
: -----Original Message-----
: I don't remember ever seeing a picture of her in full armor, but I could
: have sworn that there was one out there with her wearing a breastplate
: to her specs... similar to some of our "Lady Liberty" pictures, though
: with the Elizabethian skirt.  I could be completely mistaken, of course.
:
: -Elisabeth
:
: _______________________________________________
: h-costume mailing list
: h-costume@mail.indra.com
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To: h-costume@indra.com
Date: Thu, 7 Oct 2004 08:41:50 -0500
Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
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Status: RO

It's called 'Queen Elizabeth and the Three Goddesses' and it's fairly
well known. But Queen E is not the one in armor. The goddess
Minerva/Athena is wearing a pseudo-Roman breastplate. The picture is an
allegory of Elizabeth "defeating" the three goddesses (of Trojan War
fame) by combining all of their attributes in one person (Athena=wisdom,
Juno=rulership/power, Venus=beauty/love). If you are planning on wearing
the armor in a masque of some sort, you are in the right area. If you are
looking to design an armor that a real Elizabethan might have worn, you
will need to look elsewhere.


Karen



On Thu, 7 Oct 2004 09:04:46 -0500 "Chiara" <chiara@io.com> writes:
> That is way too small for me to get any real detail out of it. What 
> is the 
> name of the portrait and where could I find it?
> 
> If you have not guessed it by now, yes, I am making armour.
> 
>        Chiara
>   `°ş¤ř,¸¸,ř¤ş°`
> ----- Original Message ----- 
> From: "otsisto" <otsisto@socket.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, October 07, 2004 1:46 AM
> Subject: RE: [h-cost] Re: Queen Elizabeth in armor?
> 
> 
> : Is it possible that you are thinking of this portrait?
> :
> : http://ladysarafina.home.att.net/liz3goddesses.JPG
> :
> : I'll see If I can get a better picture.
> :
> : De
> :
> : -----Original Message-----
> : I don't remember ever seeing a picture of her in full armor, but I 
> could
> : have sworn that there was one out there with her wearing a 
> breastplate
> : to her specs... similar to some of our "Lady Liberty" pictures, 
> though
> : with the Elizabethian skirt.  I could be completely mistaken, of 
> course.
> :
> : -Elisabeth
> :
> : _______________________________________________
> : 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: Re: [h-cost] Re: OT, for those with costume cats...
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<<<snip>>I have a problem with the 2-year-old cat that wants to lie right behind
my machine and bat at the needle as it goes up and down.


  I had a cat that used to do that too! She "cured" Herself of that problem when the needle actually caught her once. Once was all it took.   After that she was perfectly content to sit behind the machine and purr along with it as I sewed.   

   She still jumped on fabric, as I was cutting out garb. But we finally trained her to be a patternweight for me instead for getting upset about it.  It did get to be frustrating though because of the battles to get her *off* of each piece when I needed to cut another one though.. I would tell her every so often I was going to make a cloak hood lining out of her if she didn't quit. The day I actually took the pattern piece for the hood lining and "test fit" it across her back, she got the message.. her little green eyes got so big and she was out the door in a flash.  I didn't see her for the rest of the afternoon, and I was allowed to cut in peace.    After that we would play the cutting game for a while and when I would give her her ultimatum, she would retire to the sewing machine table and wait for the purr machine to start.    The only color fabric she wouldn't jusp on was white, and that because we got her convinced that if she got on the white bridal satin for my wed!
 ding gown she would never live to see the wedding.  I still can't figure out how my mother taught her that.  

  I miss my sewing kitty.

Crissy
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I've never had a cat destroy fabric with claws, I just have one that sneaks into my sewing room and curls up in the closet leaving me hair ball surprises. But never leave a $40 pattern on the floor overnight. My room looked like a ticker-tape parade.

I had one cat who found a spool of thread when I was gone overnight. Fortunately the thread passed through her intestines and didn't bind, but I came home to find thread starting in the litterbox, passing through the cat to the spool out the other end. She had the most pathetic "help me" face I have ever seen.

Wendy 



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Subject: Re: [h-cost] OT, for those with costume cats...
Date: Thu, 7 Oct 2004 11:29:04 -0400
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Both of mine are really good about having their claws clipped, the calico
enjoys having her feet rubbed, so we turn the clipping into a footie
massage. The black one has very ticklish feet, but he loves the attention,
so will usually struggle with himself just long enough for me to do the
trimming. :-) My friend uses the 'falsies' on her cat, and absolutely loves
it. As soon as I can find a local supplier, I'm going to give it a try.

Usually both of them will sit with me, or on me while I cut things out (on
the floor, no table), butI have to watch the black one with my pins -
pulling them out of my cushion and my cut fabric and leaving them in tidy
piles is fun. The week I made the tent was kitty heaven for them. My living
room was full of sunforger canvas, which apparently has a very seductive
crinkling sound, the cats thought I had bought them the worlds largest paper
bag for them to play in. :-) I'd be trying to hoist all 50 pounds of fabric
*and* 26 pounds of cats accross the floor and through my machine. Now they
have to content themselves with sleeping on the tent bag. :-)

Sheridan
(Apostrophe and Stradavarius)



----- Original Message -----
From: <homeec@telenet.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 07, 2004 8:31 AM
Subject: Re: [h-cost] OT, for those with costume cats...



> I had to have mine declawed (even though I too limited it to just the
front),
> once he discovered how much fun it was to get a running start and then
Pounce
> and Slide on any fabric I was trying to cut out.  And I think he was
having a
> contest with himself to find out how far he could slide each time.
> It was also where I discovered that 1) it didn't have to be on the floor,
he
> could Pounce and Slide on fabric on a table,  and 2) apparently, in his
mind, a
> table with fabric on it did not have the same Stay Off rule as a table
with
> dishes - even when it is the same table!   Rowena


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Date: Thu, 7 Oct 2004 12:06:15 -0400 (EDT)
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To: h-costume@indra.com
Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
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>
> That is way too small for me to get any real detail out of it. What is the 
> name of the portrait and where could I find it?

I thought that I had this one but I didn't.  You can, however, see it on
this page
http://www.geocities.com/queenswoman/elizadoran.html

It's by Hans Eworth, is titled Elizabeth I and the three Goddesses

Jerusha
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From: "Chiara" <chiara@io.com>
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Date: Thu, 7 Oct 2004 11:49:40 -0500
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Subject: [h-cost] miracle plays was Re: QEI in armor?
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A few folks that I know are putting together just such a thing as a theme 
for our next big event. Can you tell me where I can point them to for 
documentation on this?

For all three terms, miracle plays, mystery plays, and tableaux.

Thank you!

       Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 06, 2004 11:58 PM
Subject: Re: [h-cost] Re: Queen Elizabeth in armor?


:
: On Thu, 7 Oct 2004, Kate Pinner wrote:
:
: > Yeah, mystery plays is what we call them; don't know if that's what they
: > called them.
:
: Yes, it's a period term. Another is "miracle plays," I think, but I
: remember "mystery" from my college textbooks on medieval drama.
:
: --Robin
:
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Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
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Curious woodcut, it is a woodcut yes?

It almost looks like she is wearing armour there ....

Nice site!

        Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "Susan Farmer" <sfarmer@sabre.goldsword.com>
To: <h-costume@indra.com>
Sent: Thursday, October 07, 2004 11:06 AM
Subject: Re: [h-cost] Re: Queen Elizabeth in armor?


: >
: > That is way too small for me to get any real detail out of it. What is 
the
: > name of the portrait and where could I find it?
:
: I thought that I had this one but I didn't.  You can, however, see it on
: this page
: http://www.geocities.com/queenswoman/elizadoran.html
:
: It's by Hans Eworth, is titled Elizabeth I and the three Goddesses
:
: Jerusha
: _______________________________________________
: h-costume mailing list
: h-costume@mail.indra.com
: http://mail.indra.com/mailman/listinfo/h-costume 

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Subject: Re: [h-cost] Re: OT, for those with costume cats...
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Mine, of course, MUST help with cutting out fabric too, in pretty much all
the ways described above. She has a cat carrier that I leave out in the
living room, so that she can play with it--it's turned into her cave, and
she actually likes being in it. So whenever she gets too rowdy, I put her in
the cat carrier and put the cat carrier right beside the fabric, so that she
has a clear view of the scissors at all times. It works pretty well and she
seems mostly content; the only problem is that when I let her out, she
assumes that she is now free to play hurricane again!

-E

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Help, please!
 
I am trying to make a Halloween costume that is at least somewhat historically accurate... I already have a vintage Soviet military hat, I just need the rest of the costume to go along with it!  Does anyone know a good *picture* book on Soviet military uniforms?  Or just a book on Communist military uniforms in general?  Maybe a website or two?  Anything would be a great help! 
 
Be well,
Tessalina

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] miracle plays was Re: QEI in armor?
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On Thu, 7 Oct 2004, Chiara wrote:

> A few folks that I know are putting together just such a thing as a
> theme for our next big event. Can you tell me where I can point them
> to for documentation on this?

There are quite a number of these plays collected in school (college)
textbooks that helpfully include introductory material and glosses. (Mine
are probably in a box somewhere.) Or look for a scholarly edition that
would include some information about the history of a given play, and have
a bibliography to other sources about the genre.

To find these, look for collections of "Medieval Drama" or "Drama of the
Middle Ages" or something like that, on a keyword search. One well-known
(Christmas-related) mystery play is the Second Shepherd's Play, IIRC, but
there were whole cycles of them. The groups of plays would form the basis
for a town celebration. Different guilds in a town would each take a
different play in the cycle, and perform it from a wagon, and then they'd
all move the wagons to new position and perform again -- sort of a parade
of plays for the bystanders. (Gee, I am dredging this stuff up from the
depths of memory from classes 25 years ago. I hope I have it right.)
"Mystery," "miracle," and "cycle" would be good search words to use in
conjunction with the ones above.

I know there have been papers and books done on stagecraft issues. Search
for phrases like "medieval theatre" in book titles.

Wait, I seem to recall the Clifford Davidson assembled some papers on
medieval theater stagecraft, including costume, into a book not long ago.
OK, here it is -- this will give you a good start:

Technology, Guilds, and Early English Drama (Early Drama, Art, and Music
Monograph Series, 23)
by Clifford Davidson 
Medieval Institute Publications (1996)
ISBN: 187928880X 
Only $15 in paperback at Amazon. 

Plug Clifford Davidson's name into Amazon and you'll get a long list of
other books he's done, many of which are on medieval drama. Some of these
may be relevant to you; you'll want to get most of these ILL, though, as
they're much more expensive and might not be quite what you need.  One
that caught my eye is "A Tretise of Miraclis Pleyinge," also from the
Medieval Institute monograph series. You might want to tap into a good
university library or the Medieval Institute booklist to see what else is
in that monograph series. If you can't find the Institute's site easily,
email me. The Medieval Institute, of course, is the organization that runs
the Congress at Kalamazoo every year.

--Robin



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Subject: Re: [h-cost] vintage clothing sites?
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www.antiquedress.com is the one I check most often. Except--does eBay count?
They have more vintage clothing for sale than any other single site I can
think of, and even though the information with it is rarely to be trusted,
it's still an amazing resource for those who feverishly collect images of
extant clothing.

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Date: Thu, 07 Oct 2004 18:47:31 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] miracle plays was Re: QEI in armor?
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 et>
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Hello

I'm Suzi Clarke, a professional costume maker, and i live and work in 
London, England.

As Robin says different towns would put on mystery plays. The famous ones 
still performed here are the "York Mysteries" and, I think, Coventry, 
(although that might be mummers, in which case the play is probably about 
St. George and the Dragon.)

Suzi

>To find these, look for collections of "Medieval Drama" or "Drama of the
>Middle Ages" or something like that, on a keyword search. One well-known
>(Christmas-related) mystery play is the Second Shepherd's Play, IIRC, but
>there were whole cycles of them. The groups of plays would form the basis
>for a town celebration. Different guilds in a town would each take a
>different play in the cycle, and perform it from a wagon, and then they'd
>all move the wagons to new position and perform again -- sort of a parade
>of plays for the bystanders. (Gee, I am dredging this stuff up from the
>depths of memory from classes 25 years ago. I hope I have it right.)
>"Mystery," "miracle," and "cycle" would be good search words to use in
>conjunction with the ones above.
>
>I know there have been papers and books done on stagecraft issues. Search
>for phrases like "medieval theatre" in book titles.
>
>Wait, I seem to recall the Clifford Davidson assembled some papers on
>medieval theater stagecraft, including costume, into a book not long ago.
>OK, here it is -- this will give you a good start:
>
>Technology, Guilds, and Early English Drama (Early Drama, Art, and Music
>Monograph Series, 23)
>by Clifford Davidson
>Medieval Institute Publications (1996)
>ISBN: 187928880X
>Only $15 in paperback at Amazon.
>
>Plug Clifford Davidson's name into Amazon and you'll get a long list of
>other books he's done, many of which are on medieval drama. Some of these
>may be relevant to you; you'll want to get most of these ILL, though, as
>they're much more expensive and might not be quite what you need.  One
>that caught my eye is "A Tretise of Miraclis Pleyinge," also from the
>Medieval Institute monograph series. You might want to tap into a good
>university library or the Medieval Institute booklist to see what else is
>in that monograph series. If you can't find the Institute's site easily,
>email me. The Medieval Institute, of course, is the organization that runs
>the Congress at Kalamazoo every year.


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From: purplkat@optonline.net
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just a quick note :

When you post an URL could you put http:// in front of the www... 
It makes it a clickable link for a lot of us.

Thanks Katheryne

----- Original Message -----
From: E House <formfunc@formfunction.org>
> http://www.antiquedress.com is the one I check most often. Except--does 
> eBay count?
> They have more vintage clothing for sale than any other single site I can think of, and even though the information with it is rarely to be trusted, it's still an amazing resource for those who feverishly collect images of extant clothing.

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We may wind up having to have ours declawed in front, which will irritate me 
a lot since they are both great about not tearing up the furniture, each 
other or us - they are both very good at NOT using their claws when playing, 
and don't want to use them on leather or fabric (although one of them really 
wants to be a shoemaker - she likes to play with the thread and eat the 
code). One of them keeps trying to claw up part of the carpet in front of 
the bedroom door (they aren't allowed in the bedroom) though, and if I get 
her declawed, they both get it.

Anyone have any suggestions on non-declawing ways to deal with this please 
feel free to drop me a note offlist.

Marc

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Date: Thu, 7 Oct 2004 19:28:37 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] miracle plays was Re: QEI in armor?
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Chiara <chiara@io.com> wrote
>A few folks that I know are putting together just such a thing as a theme
>for our next big event. Can you tell me where I can point them to for
>documentation on this?
>
>For all three terms, miracle plays, mystery plays, and tableaux.
>
>Thank you!
>
>       Chiara
>  `°ş¤ř,¸¸,ř¤ş°`
>----- Original Message -----
>From: "Robin Netherton" <robin@shell.nightowl.net>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Wednesday, October 06, 2004 11:58 PM
>Subject: Re: [h-cost] Re: Queen Elizabeth in armor?
>
>
>:
>: On Thu, 7 Oct 2004, Kate Pinner wrote:
>:
>: > Yeah, mystery plays is what we call them; don't know if that's what they
>: > called them.
>:
>: Yes, it's a period term. Another is "miracle plays," I think, but I
>: remember "mystery" from my college textbooks on medieval drama.
>:
>: --Robin

Interesting aside - a recent article in Medieval History magazine (which 
my husband has filed too high for me to reach and he's out!) indicated 
that "mystery" in this context was a corruption of "mastery", from the 
fact that the plays were put on by the guilds.  Wish I could remember 
more - or reach the magazine :-(

Jean


-- 
Jean Waddie
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----------
From: Julie <jtknits@jtknits.cts.com>
Date: Thu, 07 Oct 2004 14:23:04 -0400 (EDT)
To: h-costume@indra.com
Subject: OT Costume Cats

Mine haven't clawed fabric.  They prefer couches :-(.  Can't use the claw covers because I want them able to catch the mice/rats, etc., and they're INDOOR cats!  They do like anything dangly and one of them likes warp threads on my looms. I've learned to cover things with towels when I leave.  Out of sight...

One thing I haven't been able to stop is my Bengal boy "christening" things.  My husband favors a very permanent solution.  Rajah's my little love, even with his naughtiness.  I can't seem to find a rhyme or reason for it and it drives my hubby wild.

Julie

> Since so many of us seem to have the obligatory cat help with our sewing...
> 
> If yer cat has a nasty habit of snagging your nice fabric with its claws,
> those little plastic nail caps solve the problem wonderfully! There's
> probably more than one company that makes them, but this is the only one I
> know of:
> http://www.softpaws.com
> Not affiliated, yada. I believe PetSmart resells these, btw, but I just
> order em. They can also be used for dogs, ferrets, etc.
> 
> I've been using them for about 3 months, and since I started Judgement has
> shed white hair all over everything, and once chewed up a few inches of
> china silk, but she hasn't managed to snag a single thing, even with
> tempting drapey gowns hung all over the living room waiting to be
> photographed! =}

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tessalina wrote:

> Help, please!
>  
> I am trying to make a Halloween costume that is at least somewhat historically accurate... I already have a vintage Soviet military hat, I just need the rest of the costume to go along with it!  Does anyone know a good *picture* book on Soviet military uniforms?  Or just a book on Communist military uniforms in general?  Maybe a website or two?  Anything would be a great help! 
>  

You should be able to find the Osprey series at any bookstore or 
modelling/gaming hobby shop. They're highly regarded by military gaming 
enthusiasts as reliable sources for painting costumes on miniature 
soldiers. There are dozens of titles covering specific time periods, 
nations, military units, etc.




Dawn


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Apologies--I generaly do that, but my fur just got here and I'm excited! =}

http://www.antiquedress.com


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   Hello the List!

I've been away a couple of years, but happy to be back....

Liadain
"Hello.  My Name is Liadain, and I am a blackworkaholic..........."
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From: Lauren Walker <lauren.walker@comcast.net>
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Princess pointy-hats are called hennins, yes? (Hats not my area.) Is there
any other historically accurate name for them? The little princess in
question doesn't like that word. Something French instead, maybe?

Thanks!
Lauren


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I have a 1950s male East German miiltary jacket I could photograph for you,
if that would help at all. (Most hideous looking powder green thing ever, by
the way.)

-E

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Subject: Re: [h-cost] Returning.....
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Please help me!!!  I have changed my email address and I can`r get back on
the list with my new email address!!!

Thanks,
Linda Sterner
lindasterner@adelphia.net

----- Original Message -----
From: "Frank and Tracy Thallas" <hardcorps@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 07, 2004 3:36 PM
Subject: [h-cost] Returning.....


>
>    Hello the List!
>
> I've been away a couple of years, but happy to be back....
>
> Liadain
> "Hello.  My Name is Liadain, and I am a blackworkaholic..........."
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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Hi,
As i understand it the word hennin is french.

Bjarne


----- Original Message ----- 
From: "Lauren Walker" <lauren.walker@comcast.net>
To: "h-costume" <h-costume@indra.com>
Sent: Thursday, October 07, 2004 9:31 PM
Subject: [h-cost] Hennin


> Princess pointy-hats are called hennins, yes? (Hats not my area.) Is there
> any other historically accurate name for them? The little princess in
> question doesn't like that word. Something French instead, maybe?
>
> Thanks!
> Lauren
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Lauren Walker wrote:

> Princess pointy-hats are called hennins, yes? (Hats not my area.) Is there
> any other historically accurate name for them? The little princess in
> question doesn't like that word. Something French instead, maybe?

Most of us hat-mavens think that "hennin" is either mostly modern, or 
perjorative.  We often use it anyway (it's on my car license plate!)

Someone figured out (and posted) that the heart-shaped sort was called a 
"sella" in period, for "saddle."  Seemed reasonable.  It might be in the 
archives.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
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My cats use the door frames.
The spraying is marking of territory or their "pissed off" about something and letting you know it. I am assuming that they are spayed so I guess your SO's solution in get rid of the cat. :P
My SO suggests the same thing from time to time.
Sometimes the conversation goes.

SO: Want a CAT (when one of the cats have wondered into "his" territory:) ).
Me: I have two already do we need a third one?
And so the debate ends.

De

-----Original Message-----
(snip)
One thing I haven't been able to stop is my Bengal boy "christening" things.  My husband favors a very permanent solution.  Rajah's my little love, even with his naughtiness.  I can't seem to find a rhyme or reason for it and it drives my hubby wild.

Julie



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> Greetings everyone!  Well, I've gotten to the point in my business where
I've got to come up with a business plan.  I've got no idea where to start,
so I thought to turn to you lovely folks.


I found "the Idiot's Guide to Business Plans" very helpful when I was
writing mine.  The Dummies series  has one, too.  The same series also have
good books on starting businesses of various types.

Margo

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Subject: [h-cost] Paging Kimiko Small 
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Sorry to use up bandwith, but your email isn't showing up for me...

Kimiko, could you contact me at margo@margospatterns.com?  I have something
I'd like to ask you.

Margo



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It's good to "see" you! You live in Wyoming, don't you? You were 
recommended to me as an alltogether cool person and Fellow Insane 
Blackworker by a Outlands Laurel a few years ago.
Welcome back!
--sue/maire

Frank and Tracy Thallas wrote:

>    Hello the List!
> 
> I've been away a couple of years, but happy to be back....
> 
> Liadain
> "Hello.  My Name is Liadain, and I am a blackworkaholic..........."


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  Thanks!  Always available off-list to discuss my addiction........<G>

Liadain

-----Original Message-----
From: Sue Clemenger <mooncat@in-tch.com>
Sent: Oct 7, 2004 7:17 PM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Returning.....

It's good to "see" you! You live in Wyoming, don't you? You were 
recommended to me as an alltogether cool person and Fellow Insane 
Blackworker by a Outlands Laurel a few years ago.
Welcome back!
--sue/maire

Frank and Tracy Thallas wrote:

>    Hello the List!
> 
> I've been away a couple of years, but happy to be back....
> 
> Liadain
> "Hello.  My Name is Liadain, and I am a blackworkaholic..........."


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Subject: [h-cost] Re: Elizabeth in armor... and mystery plays
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Not the one I was thinking of.  It *may* not be one of Elizabeth that I 
have in my head... but it is a posed "formal" looking portrait, only the 
breast plate worn of the armor, over a "regular" dress.  I'm wishing I 
could see in my head what she's holding or pointing to....

And, btw, they *are* mystery plays... and I'm leaning towards the word 
tableaux... but still thinking it was something else (because to me, 
tableaux are the semi-staged poses that were set up at times by women in 
the early 19th century... though I know that there are other forms as well).

Thanks, anyway!
-Elisabeth

>From: seamstrix@juno.com
>
>
>It's called 'Queen Elizabeth and the Three Goddesses' and it's fairly
>well known. But Queen E is not the one in armor. The goddess
>Minerva/Athena is wearing a pseudo-Roman breastplate. The picture is an
>allegory of Elizabeth "defeating" the three goddesses (of Trojan War
>fame) by combining all of their attributes in one person (Athena=wisdom,
>Juno=rulership/power, Venus=beauty/love). If you are planning on wearing
>the armor in a masque of some sort, you are in the right area. If you are
>looking to design an armor that a real Elizabethan might have worn, you
>will need to look elsewhere.
>
>
>Karen
>
>On Thu, 7 Oct 2004 09:04:46 -0500 "Chiara" <chiara@io.com> writes:
>  
>
>>That is way too small for me to get any real detail out of it. What 
>>is the 
>>name of the portrait and where could I find it?
>>
>>If you have not guessed it by now, yes, I am making armour.
>>
>>       Chiara
>>  `°ş¤ř,¸¸,ř¤ş°`
>>----- Original Message ----- 
>>From: "otsisto" <otsisto@socket.net>
>>
>>: Is it possible that you are thinking of this portrait?
>>:
>>: http://ladysarafina.home.att.net/liz3goddesses.JPG
>>:
>>: I'll see If I can get a better picture.
>>:
>>: De
>>:
>>: -----Original Message-----
>>: I don't remember ever seeing a picture of her in full armor, but I 
>>could
>>: have sworn that there was one out there with her wearing a 
>>breastplate
>>: to her specs... similar to some of our "Lady Liberty" pictures, 
>>though
>>: with the Elizabethian skirt.  I could be completely mistaken, of 
>>course.
>>:
>>: -Elisabeth
>>:
>>
>  
>


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Subject: Re: [h-cost] miracle plays was Re: QEI in armor?
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Chiara wrote:
> A few folks that I know are putting together just such a thing as a theme 
> for our next big event. Can you tell me where I can point them to for 
> documentation on this?
> 
> For all three terms, miracle plays, mystery plays, and tableaux.
> 
check the Orb, peer reviewed reputable information, many pages also hve 
bibio infom
for instance, here
http://www.the-orb.net/encyclop/culture/towns/florilegium/cmevnt_i.html

liz young

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Mine just likes anything that makes a crinkle noise, so I have trouble with
him attacking the tissue paper patterns!

Sheryl N-D


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At 12:45 PM 10/7/04 -0500, you wrote:
>www.antiquedress.com is the one I check most often.


Yep. Love that one.

Some of my other favorites are:

http://www.antique-fashion.com/
http://www.vintagetextile.com/
http://www.thefrock.com/  (Sometimes I question the dating on this site.)
http://hemlockvintage.com/
http://cti.itc.virginia.edu/~dress/


Of course, I've never ordered anything from any of the commercial sites.
They're my favs because of the pics!

Sheryl Nance-Durst


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In a message dated 10/3/2004 8:36:03 PM Pacific Standard Time, 
otsisto@socket.net writes:


> Have you tried their website?
> 
> De

Yes, on a couple of occasions.  The e-mail is always bounced back.

Kit

If you walk a mile in someone else's shoes, do you get to keep them? - 
Kenneth Cole
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Here's a message I saved from several months ago as people were having
trouble reaching AlterYears then as well.  Good luck.  Becky

-----

Date: Mon, 10 May 2004 22:53:09 -0500
From: Pierre & Sandy Pettinger <costumrs@radiks.net>
Subject: [h-cost] Re: Alter Years
To: h-costume@indra.com
Message-ID: <6.0.1.1.2.20040510225038.02241f18@pop.radiks.net>
Content-Type: text/plain; charset="us-ascii"; format=flowed

Direct from Janet, by way of a flyer posted on ICG-D:

>Here's the text of the flyer Janet was giving out at "Festival of the West"
>announcing the new contact information for AlterYears:
>__________________________
>
>AlterYears is Changing!
>We're moving out of the store and going to Mail Order and Will Call
effective
>April 1.
>
>New Numbers: Phone (626) 569-9179 Fax (626) 569-9099
>
>New Hours: Mon Noon-4 pm, Tues, Weds, Fri - 10 am-5:30 pm, Thurs 10 am -
7:30
>pm, Sat by appointment.
>
>Mail Order - works just as it always has: Call us with your order and we
ship
>it out.
>
>(pencilled in) PO Box 98, Rosemead CA 91770
>
>Will Call - Call us with your order; we will pullit from the warehouse and
>have it ready for you to pick up - usually the next working day. Pick-up
>address: 8553 Village Ln, Rosemead CA
>
>Need to look at stuff to decide? Call us and make an appointment for us to
>take you to the warehouse.
>
>Questions?  Call Us!



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Date: Fri, 08 Oct 2004 09:03:45 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] miracle plays was Re: QEI in armor?
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Yes, the Coventry cycle are also mystery plays; one includes the
well-known "Coventry Carol" in which the women sing of Herod's
threatened massacre of baby boys.

Kate Bunting
Library, University of Derby

>>> suzi@suziclarke.co.uk 07/10/2004 18:47:31 >>>
Hello

I'm Suzi Clarke, a professional costume maker, and i live and work in 
London, England.

As Robin says different towns would put on mystery plays. The famous
ones 
still performed here are the "York Mysteries" and, I think, Coventry, 
(although that might be mummers, in which case the play is probably
about 
St. George and the Dragon.)

Suzi


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Date: Fri, 08 Oct 2004 11:16:01 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: RE: [h-cost] OT, for those with costume cats...
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> <<<snip>>I have a problem with the 2-year-old cat that wants 
> to lie right behind my machine and bat at the needle as it 
> goes up and down.
> 
> 
>   I had a cat that used to do that too! She "cured" Herself 
> of that problem when the needle actually caught her once. 
> Once was all it took.   After that she was perfectly content 
> to sit behind the machine and purr along with it as I sewed.   

What amazes me is all you people who allow your cats on the table.
We've never allowed our cats to jump up on the tables.  Thre floor and
seats, yes but not tables and counter-tops.  Our current cat came to us
when she was eigth and had obviously been allowed to jump onto tables
and counters in her previous place, but we soon trained her out of it
(even if it did mean having a spray-bottle full of water or a loaded
water-pistol handy for a few weeks until she got the message)

Yes, being a cat, she still tries it occasionally (and she *knows* it's
wrong, judgign by the guilty look and scramble to get off the table when
we walk in) but 90% of the time she doesn't even try jumpoing up
 
> She still jumped on fabric, as I was cutting out garb. But 
> we finally trained her to be a patternweight for me instead 
> for getting upset about it.  It did get to be frustrating 
> though because of the battles to get her *off* of each piece 
> when I needed to cut another one though..

We have certain rooms the cats aren't allowed in - Tom's art studeo
(cats and oil paints do not mix well) the sewign room, the spare bedroom
(lots of cat allergic friends who couldn't' stay over if the spare room
wasn't cat free) and the fabric store room.  Trhe doors of these rooms
are kept shut when we aren't in them and if the cat tries to wander in
while we're in there with the door open, her name said in the right tone
is enough to get her to turn right around and wander back out again.

I love cats, but do not believe in letting them get away with doing
stuff they aren't allowed to do.

Teddy
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Does anyone have the trouble I have had with cats who think getting under a 
hoop skirt is great fun?   Always makes hemming one interesting.   Rowena 


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----- Original Message ----- 
From: "Home Ec" <homeec@telenet.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 08, 2004 6:20 AM
Subject: [h-cost] costume cats & hoop skirts


> Does anyone have the trouble I have had with cats who think getting under
a
> hoop skirt is great fun?   Always makes hemming one interesting.   Rowena

I keep my farthingale on my dress dummy most of the time. My children think
it's a great place to hide!

Dianne


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Teddy wrote:
> We've never allowed our cats to jump up on the tables. 

Me, neither, but often when I cut things out, it's on the floor.  Mine 
have verbal commands for "get off" and "stay away" which they obey most 
of the time, as long as there's not fabric involved!  (There's also a 
special one for "if you want to be petted, come over here.)

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
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To: "Historical Costume" <h-costume@indra.com>
References: <4.3.2.7.2.20041007075601.00b57610@pop.fuse.net><1097152267.4165370be57f0@webmail.logical.net><00a601c4ac82$61abee00$cb6afea9@sherry>
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Subject: Re: [h-cost] costume cats & hoop skirts
Date: Fri, 8 Oct 2004 23:47:06 +1300
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> Does anyone have the trouble I have had with cats who think getting under
a
> hoop skirt is great fun?   Always makes hemming one interesting.   Rowena

http://costumes.glittersweet.com/sca/farthingale2.jpg
He's under my test farthingale.. which he later sprayed (thank goodness he's
fixed or it would have been a real problem...) The gown is slowly coming
together, I just ironed the sleeves tonight.
http://costumes.glittersweet.com/sca/valois.htm

That's the gown in question:)

As for disciplining him... he chooses to jump on the counter where there is
no one around.. he won't do it when we are around... it's his method of
attracting attention we think. If there was a tried and true method for
getting him to stop we haven't found it.

Water guns from us lurking around the corner.. lemon juice on the bench...
it just doesn't work.. even ignoring him when he pushes a bowl or cup to the
floor (ceramic tiled!) doesn't work.

Deaf cats.... I dunno....

All the crazy of a normal cat times ten;)

(just don't ask me how I worry about him every day)

michaela de bruce
http://glittersweet.com


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Greetings All,

       I am looking for extant items related to the lives of children 600AD 
-1650AD anywhere in the world.
If you know of such items, particularly clothing items, I would be grateful 
to hear of their whereabouts.

       At your service,
       Heather Stecher

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From h-costume-bounces@indra.com  Fri Oct  8 07:34:41 2004
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Date: Fri, 08 Oct 2004 12:33:02 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Medieval Children
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At 04:19 08/10/2004 -0700, you wrote:
>Greetings All,
>
>       I am looking for extant items related to the lives of children 
> 600AD -1650AD anywhere in the world.
>If you know of such items, particularly clothing items, I would be 
>grateful to hear of their whereabouts.
>
>       At your service,
>       Heather Stecher
In the museum at Chartres in France there is a beautiful red arming jack. 
It is child size and I have photos, but unfortunately cannot post right 
now, owing to a technical hitch, possibly to be fixed next week. There is 
also a tiny "?brigandine" also in red, and I think I have a photo of that too.

As I am new to the list, I don't know if I am allowed to post my e-mail 
address for you to contact me for further information when the hitch is 
de-hitched.

Suzi in London


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From: Lena Strid <lstrid@mglarc.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval Children
Date: Fri, 8 Oct 2004 12:47:36 +0100 
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Hi Heather,

I assume you are aware of the children's garments from Herjolfsnes. These
are the only children's clothes I can recall. 

The museum in Lund, Sweden, has a medieval child's chair. Unfortunately I
can't find an image of it in their exhibition database
(http://www.kulturen.com/Metropolis/Asp/index.asp?todo=search). However, if
you write Leksak (= toy) in the Foremal category of the database, you'll
come up with lots of things. An online dictionary should make most of the
text clear, unless you speak Swedish, in which case you don't need to use
one.

Have you tried contacting various museums (national and regional) and asking
them what they have in their collections? 

May I ask what you want this information for? I have not been on the list
for very long, so apologies if this has come up before.

/Lena


-----Original Message-----
From: Dan and Heather Stecher [mailto:gusgus@lightspeed.ca] 
Sent: 08 October 2004 12:20
To: h-costume@net.indra.com
Subject: [h-cost] Medieval Children

Greetings All,

       I am looking for extant items related to the lives of children 600AD 
-1650AD anywhere in the world.
If you know of such items, particularly clothing items, I would be grateful 
to hear of their whereabouts.

       At your service,
       Heather Stecher


=================================================
Margaret Gowen & Co. Ltd.
Archaeological Consultants & Project Managers
2 Killiney View                   Tel: 01-2300433
Albert Road Lower                 Fax: 01-2300865
Glenageary         e-mail: archaeology@mglarc.com
Co. Dublin	   website: http://www.mglarc.com
=================================================

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There are several items in the _Medieval Children_ book by Orme, but I 
expect you have that one already.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

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Subject: Re: [h-cost] OT, for those with costume cats...
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We have the no surface rule as well, except I do let mine sleep on the 
my ironing board...stupid I know...I do have to clean it before using 
it, but I have two...."sew" I cheat a little.  It makes for good 
entertainment sometimes.  On several occasions he has fallen asleep and 
then rolled right off the board....the look in his eyes when he is 
hanging off the board or picking himself up off the floor!  Either 
scared to death or embarrassed--Hysterical!
Sg
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From: "Elena O'Tighearnaigh Atha An Ri" <elena_4557@hotmail.com>
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Subject: RE: [h-cost] OT, for those with costume cats...
Date: Fri, 08 Oct 2004 06:23:58 -0700
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Hi Teddy!
I do know what you mean.  My cat *used* to jump on my cutting table and 
ironing board. Jumping on the ironing board was a problem until until it 
fell over (with a little motherly assist).  Then for the cutting table, it 
was simply a case of something sticky on the table and she learned that it 
was not a 'nice' place for her delicate little paws!  *giggle*  Nothing 
chemical or nasty, just a little spray adhesive that I had to use on some 
fabric once..  You shoulda seen the look of disgust she gave me!


>From: Teddy <Teddy@mdx.ac.uk>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: h-costume@indra.com
>Subject: RE: [h-cost] OT, for those with costume cats...
>Date: Fri, 08 Oct 2004 11:16:01 +0100
>
>I love cats, but do not believe in letting them get away with doing
>stuff they aren't allowed to do.
>
>Teddy
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Elena O'Tighearnaigh A'tha An Ri
Emer's Needle Wares
Gia Gavino

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From: Teddy <Teddy@mdx.ac.uk>
Subject: RE: [h-cost] OT, for those with costume cats...
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> Teddy wrote:
> > We've never allowed our cats to jump up on the tables.
> 
> Me, neither, but often when I cut things out, it's on the floor.  Mine

> have verbal commands for "get off" and "stay away" which they obey
most 
> of the time, as long as there's not fabric involved!  (There's also a 
> special one for "if you want to be petted, come over here.)

I cut out on the floor too - but of one of the rooms the cats (currently
cat) aren't allowed into.

I would live in horror of having a cat like one of Missa Heischberg's
ones who jumps up behind the machine and sticks his head through the gap
between the main body and the machine and the needle arm while she's
sewing....


Teddy 
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From h-costume-bounces@indra.com  Fri Oct  8 10:31:15 2004
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Subject: Re: [h-cost] Medieval Children
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Hi,

look at Frankish Royal Tombs in the Cathedral of Cologne and 
Saint-Denis, Antiquity, XXXVIII, 1964, pgs 201-216.

There are images of a child's helmet in the Saracen style, a chair and 
a bed.

Althea

On Friday, October 8, 2004, at 04:19 AM, Dan and Heather Stecher wrote:

> Greetings All,
>
>       I am looking for extant items related to the lives of children 
> 600AD -1650AD anywhere in the world.
> If you know of such items, particularly clothing items, I would be 
> grateful to hear of their whereabouts.

Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy

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Subject: Re: [h-cost] Soviet (female) military uniform
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... I already have a vintage Soviet military hat, I just
> need the rest of the costume to go along with it!  Does anyone know a good
> *picture* book on Soviet military uniforms?

What you want is a 3D look...try the James Bond movie The Spy Who Loved Me. 
Barbara Bach wears a fairly close to real although girlied-up one,

-C.


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Subject: Re: [h-cost] costume cats & hoop skirts
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I thought my cat was the only crazy one doing that. Made checking hte hem and drape of the skirt a little hard.

Kat

----- Original Message -----
From: michaela <thebruce@ihug.co.nz>

> > Does anyone have the trouble I have had with cats who think getting under a hoop skirt is great fun?   Always makes hemming one interesting. 
>  Rowena
> 
> http://costumes.glittersweet.com/sca/farthingale2.jpg
> He's under my test farthingale.. which he later sprayed (thank goodness he's fixed or it would have been a real problem...)  
> michaela de bruce

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Date: Fri, 08 Oct 2004 10:56:34 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: cat off counter (was Re: [h-cost] costume cats & hoop skirts
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>As for disciplining him... he chooses to jump on the counter where there is
>no one around.. he won't do it when we are around... it's his method of
>attracting attention we think. If there was a tried and true method for
>getting him to stop we haven't found it.
>
>Water guns from us lurking around the corner.. lemon juice on the bench...
>it just doesn't work.. even ignoring him when he pushes a bowl or cup to the
>floor (ceramic tiled!) doesn't work.

Put 4" loops sticky tape, sticky side out, along the edge of the 
counter.  After a couple of times of getting stuck, the cat may change his 
mind about jumping on the counter.

OCC: use loops of sticky tape, sticky side out, for the removal of cat hair 
from costumes.

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

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Date: Fri, 08 Oct 2004 10:51:47 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] costume cats & hoop skirts
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>Does anyone have the trouble I have had with cats who think getting under 
>a hoop skirt is great fun?   Always makes hemming one interesting.   Rowena

One of ours doesn't require a hoop to want to get under the floor-length 
hem of any garment I put on my dress form.  She's too old to think it's an 
adventure, so she doesn't attack the hem or run in and out, but she does 
like to explore under there or hide from the other cat.


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

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From h-costume-bounces@indra.com  Fri Oct  8 14:33:55 2004
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From: Mara Riley <mara@rileyhome.net>
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Subject: [h-cost] OT: Costuming pets
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No costuming cats in my house -- I'm VERY allergic.  However, when I
was a teenager, my mom's dog just _had_ to come sit on the fabric
every time I was cutting something out on the floor.  So dogs aren't
exempt from the costume-interference thing.

Speaking of animals swallowing things, someone mentioned their cat
swallowing thread.  That story reminded me of the time that one of my
dogs swallowed a strip of chamois leather that I'd cut to use as stay
binding.  When he tried to pass it, the leather strip just hung
there...  He ran around the yard in a semi-crouch, with that "HELP
ME!" look on his face.  I laughed, went to get my gardening gloves,
and rescued him from the horrible leather thing.  Silly boy...

And it does seem to be a rule that no matter what color you're
wearing, your pets will shed a contrasting color.  Doesn't help that
my two current dogs are black/white and black/tan, respectively.

-- Mara
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Subject: Re: [h-cost] costume cats & hoop skirts
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Both of mine seem to love the feeling of fabric, the calico will even sit
while I'm practicing my dancing *just* where my skirts will brush up against
her, eyes squinting and a big smile on her face. The black one likes to
hide/nap under whatever happens to be on my dress form. Both of them love it
if I drop a veil over top of them, they seem to think I can't see them even
though they can see me. :-)

Sheridan


----- Original Message -----
From: "Carolyn Kayta Barrows" <


> One of ours doesn't require a hoop to want to get under the floor-length
> hem of any garment I put on my dress form.  She's too old to think it's an
> adventure, so she doesn't attack the hem or run in and out, but she does
> like to explore under there or hide from the other cat.


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Subject: [h-cost] OT Costumes and Cats ...
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Status: RO

I had to delurk for this one ... ;)

Sewing anywhere outside the basement in my house is an adventure (the
basement is "kitty-free" because there are too many things that could fall
over on them and make em go splat .. its mainly storage although Matti
will say its fairly organized ;)since I have 4 kitties (at one point it
was 6) and they all love to lay on fabric, play with pattern papers, make
the pins scatter across the floor, and otherwise just "play" with the
project.  One time I made the mistake of not putting away a pattern I was
ironing while I took a break for a quick trip to the loo .. when I came
back, it was snowing in the kitchen above my ironing board and a big blue
eyed fluffball batted at the crunchy crinkly snowflakes of paper as the
others watched, mezmirized!

Its a house rule that any fabric will duly be napped upon, the lighter
colored or more "fuzzy" the more hairy it ends up!

But the main reason I had to delurk was to share a funny little
"situation" .. that same Blue Eyed Devil that ruined the pattern I was
ironing, is a bit of a crinoline kitty.  Any time I am trying to
photograph things for posting on ebay, he feels the need to "try them on",
especially the crinoline skirts .. I even have photos of him taking a big
nap in an extra full wedding crinoline .. not on it, IN it!!  If I hunt
them down, I'll share .. its pretty hilarious ;)  Since most of the fabric
I sew with is not delicate, they have never snagged that, but my ebay
gowns have occasionally fallen victim to one of the cats deciding to snag,
claw, or use one as a launching pad (only one is declawed and that is just
in front) .. or chew on the beaded gowns (GRRRRRRRR!!!) .. I had to
"re-work" a simple red satin gown into something else entirely after I
found claw marks in at least 3 places .. guess one of them didn't like
that shade of red! ;)

Anyone else have cats who like to CHEW on plastic, patterns, or beaded
trim?!?

- Lil (kitty herder, fur gatherer, dustybunny breeder from hell ;)

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From: Dawn <dawn@reddawn.net>
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Subject: [h-cost] cotehardies and gothic dress yardages
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Can anyone tell me how much yardage I should buy for a man's and a 
woman's costume? I've never made one before, and I am having an awful 
time finding a web source that gives an estimated yardage for 14th 
century clothing. I'm anticipating needing material for the 
undershirt/tunic/dress and the outer garment plus lining. I need to 
purchase the fabric before I draft the patterns, unfortunately. Help is 
appreciated.



Dawn


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Subject: Re: [h-cost] OT, for those with costume cats...
Date: Fri, 8 Oct 2004 16:25:15 -0400
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> Boy, it's a good thing I don't have a snagging problem with *my* cat--I
> wouldn't survive the trimming!  :-)
> I've been surprised how well my cat takes it--I use baby-sized nail
nippers.
> It isn't her favorite thing, but she does tolerate it.

Ehe... mine would bite your arm off if you even looked like you were
thinking of just *touching* one of his paws... We never clipped his nails;
he'd do most of the job outside, and we'd have the vet clip them when we
went... gosh did that poor guy hate that job!

Since the cat went outside a lot and came in mostly to eat and sleep, once
he'd found a comfortable spot I didn't have too much trouble with him trying
to get onto my fabric. And he didn't chew anything besides the boinky door
stopper (he'd do it in the morning to get my dad's attention so he could go
out). Don't leave a paper or plastic bag lying around, though!
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Subject: Re: [h-cost] Hennin
Date: Fri, 8 Oct 2004 16:34:06 -0400
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> Princess pointy-hats are called hennins, yes? (Hats not my area.) Is there
> any other historically accurate name for them? The little princess in
> question doesn't like that word. Something French instead, maybe?

French is "hennin" too! Sorry that doesn't help :-)
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] costume cats & hoop skirts
To: Historical Costume <h-costume@indra.com>
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My house overrunneth with costume pets.

I have red-gold longhaired dogs, who will lie on top
of anything, and don't know not to walk on fabric, so
they aren't allowed in when I'm cutting.

We now have 3 cats: Lord Voll, polydactyl, black and
white somewhat longhaired, Vaya, black shorthaired,
paper-eater and incurable furniture walker, and
Goblin, the 7 month old black kitten.

Voll is very good about not being on fabric I'm
working on, but anything else is fair game-and if he's
mad at me, it becomes wet.  Vaya and Goblin haven't
quite caught on that walking on, pouncing on and other
activities are not allowed on Mommy's fabric.

Goblin also thinks that the outfits on forms and
mannequins are either for climbing up to pounce on
Vaya, or to curl up in and snooze.

But hair gets everywhere.

Angharad / wolfcat


		
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Subject: Re: [h-cost] OT, for those with costume cats...
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> What amazes me is all you people who allow your cats on the table.
> We've never allowed our cats to jump up on the tables.

> Yes, being a cat, she still tries it occasionally (and she *knows* it's
> wrong, judgign by the guilty look and scramble to get off the table when
> we walk in) but 90% of the time she doesn't even try jumpoing up

Yes, we had trouble with ours too. He'd go sleep on the bed... on my DAD's
side (he didn't like the cat very much ;-) and never on my mom's side. He
had such a cute guilty look when I came home in the afternoons !

He'd jump on tables when we weren't there - never when we were around. And
then when he got older he got an infection from a scratch mark on one thigh
and the vet had to operate. The pain was enough for him to fall down a
couple of times when he tried to jump, and eventually he entirely stopped
jumping. He'd look up intensely until we got the message and picked him up
(he was allowed to climb on the kitchen stools). We never ever found a warm
spot  after that, not on the couch, not on the bed. He'd stay on the carpet.

And he got very cuddly when he got older. He'd want to be where people were,
always. He'd ask to climb on anyone who sat down (except my dad), or he'd
lie down somewhere close so he could keep an eye on us. So he was a good
working buddy (I didn't sew back then, but I did all kinds of other things).

I miss him. I'm allergic, so I won't be able to get another one.
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Subject: Re: [h-cost] OT Costumes and Cats ...
Date: Fri, 8 Oct 2004 22:59:57 -0400
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----- Original Message ----- 
From: "Lil Sorepaws" <sorepaws@yahoo.com>
To: <h-costume@indra.com>
Sent: Friday, October 08, 2004 3:25 PM
Subject: [h-cost] OT Costumes and Cats ...


*snip*
> Anyone else have cats who like to CHEW on plastic, patterns, or
beaded
> trim?!?

Oh, goodness, yes! My Shadow loves plastic bags--ziplock bags, grocery
bags, any kind of plastic. I caught him the other day with about 3" of
a plastic sleeve from a roll of wrapping paper down his throat!

My little girl, Moria, has a very bad habit of chewing on
cords--extension cords, lamp cords, computer cords, and the like. She
also likes the plastic ends on the side pieces of eye glasses.

Pixel just sheds on everything... :-)

kate


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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
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Subject: Re: [h-cost] cotehardies and gothic dress yardages
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, October 09, 2004 5:37 AM
Subject: [h-cost] cotehardies and gothic dress yardages


> Can anyone tell me how much yardage I should buy for a man's and a
> woman's costume? I've never made one before, and I am having an awful
> time finding a web source that gives an estimated yardage for 14th
> century clothing. I'm anticipating needing material for the
> undershirt/tunic/dress and the outer garment plus lining. I need to
> purchase the fabric before I draft the patterns, unfortunately. Help is
> appreciated.
>Dawn
>
I aim for about 5 m of outer fabric then 1m for lining the bodice, 1m for
lining the sleeves and 3m for lining the skirt (Though I often don't line
the skirt) This is for an early 16th century long sleeved kirtle so it has a
waist seam and a gored skirt but it shouldn't be much different for a
14th/15th century GFD
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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	<200410070041.54767.cathy@thyrsus.com>
Subject: Re: [h-cost] OT, for those with costume cats...
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And how about a cat that nested on the ironing board! Mine got her tail
nearly singed more than once.!!
Kathleen
----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 07, 2004 12:41 AM
Subject: Re: [h-cost] OT, for those with costume cats...


> On Wednesday 06 October 2004 8:32 pm, Karolee Smiley wrote:
> > E House wrote:
> > >Since so many of us seem to have the obligatory cat help with our
> > > sewing...
>
> I cannot recall hearing of a costumer with pets that *didn't* have at
least
> one cat, but that may just be selective memory kicking in.  :-)
>
> > >
> > >If yer cat has a nasty habit of snagging your nice fabric with its
claws,
> > >those little plastic nail caps solve the problem wonderfully! There's
> > >probably more than one company that makes them, but this is the only
one I
> > >know of:
> > >http://www.softpaws.com
> > >Not affiliated, yada. I believe PetSmart resells these, btw, but I just
> > >order em. They can also be used for dogs, ferrets, etc.
>
> If Sugar (my cat) posed a real problem in this regard, I'd try it, since
she
> sure won't let me *trim* her claws (I make the vet do it when she gets her
> checkup, because it takes a minimum of two people; one to hold the cat
fully
> extended by all four paws and one to do the actual trimming.)
>
>
>
> > >I've been using them for about 3 months, and since I started Judgement
has
> > >shed white hair all over everything, and once chewed up a few inches of
> > >china silk, but she hasn't managed to snag a single thing, even with
> > >tempting drapey gowns hung all over the living room waiting to be
> > >photographed! =)
>
> Sugar likes to nibble paper (she once did quite a bit of nibbling on a
pattern
> I had spread on the floor) but does not damage cloth, even by accident.
She
> just likes to walk around on it, and then lie down.
>
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "Success is not final, failure is not fatal; it is the courage to continue
> that counts."--Winston Churchill
> _______________________________________________
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	<008c01c4adac$23b3c2a0$1902a8c0@duncan>
Subject: Re: [h-cost] OT Costumes and Cats ...
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And don't forget the styrofoam! One of mine was addicted to the stuff in any
of its forms...wig heads, appliance packing, balls, cones and such. At one
time I was using packing as props for cardboard boxes in the basement and it
was all reduced to confetti,
Kathleen
----- Original Message ----- 
From: "ailith" <ailith@neo.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 08, 2004 10:59 PM
Subject: Re: [h-cost] OT Costumes and Cats ...


>
> ----- Original Message ----- 
> From: "Lil Sorepaws" <sorepaws@yahoo.com>
> To: <h-costume@indra.com>
> Sent: Friday, October 08, 2004 3:25 PM
> Subject: [h-cost] OT Costumes and Cats ...
>
>
> *snip*
> > Anyone else have cats who like to CHEW on plastic, patterns, or
> beaded
> > trim?!?
>
> Oh, goodness, yes! My Shadow loves plastic bags--ziplock bags, grocery
> bags, any kind of plastic. I caught him the other day with about 3" of
> a plastic sleeve from a roll of wrapping paper down his throat!
>
> My little girl, Moria, has a very bad habit of chewing on
> cords--extension cords, lamp cords, computer cords, and the like. She
> also likes the plastic ends on the side pieces of eye glasses.
>
> Pixel just sheds on everything... :-)
>
> kate
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] Rit dye IS good for something! (dyeing fur)
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My gorgeous, gorgeous fur is not quite the right color (too much burgundy,
not enough brown) so I decided that rather than waiting several months for
my supplier to get the correct color in stock, I'd try dyeing it. Since the
skin is washable, I wasn't too worried about the effects of dyeing; I was
just uncertain as to which dye I should use. Web research suggested 3
alternatives: any 'good' protein dye, or a leather dye, or Rit.

Well, I tried a good protein dye. Yeeech. First of all, it absolutely would
not stick; I tried everything from soaking the fur in almost pure dye to
leaving the sample in a dye bath for several hours, and not one scrap of
color was transfered to the fur. Second, the leather backing soaked up all
the dye, and though the dye didn't actually do much to change the color of
the leather, it did NOT want to come out of the leather. It would not
exhaust; I rinsed and rinsed and rinsed and rinsed. It would get to a point
where the water ran clear, but then when I pressed the leather against a
paper towel to dry it, the paper towel immediately turned black (the color
of the dye I tested). Third and creepiest, the leather backing almost
immediately took on a terribly unpleasant slimy feel, as though it were
dissolving. Now, this might have simply been the feel of all that dye
refusing to leave the leather, but it really worried me.

I'd looked into leather dye a bit, and the price and chemicals involved made
me shy away from that option. So, since I had a few bits of Rit dye left
over, I tried that.

It worked perfectly! I mixed up a pretty dilute dye bath, with hot tap
water, and just dunked it, then pulled it out and rinsed it off a few
minutes later. It rinsed clean almost immediately, and the fur's color had
changed dramatically (and almost accidentally) into pretty much the exact
color I wanted. (I overdyed burgundy with dark green, which yielded a nice
dark brown. I might want to add something with a strong hint of yellow to
the dye to get a slightly more chocolatey color, but other than that it was
surprisingly perfect for having just used whatever I had laying around!)
The leather didn't have any creepy slimy feel to it, and when I pressed it
against a paper towel, there wasn't the slightest sign of green left on the
paper towel. There was some burgundy, as there had been when I simply dunked
a sample then dried it without any dyeing. Apparently the original dye was
actually inferior to Rit! (Never thought I'd say that.)

I've since read a good bit more about dyeing fur with Rit, from mailing
lists that deal with making your own fishing flies. The rit-dyed furs
survive constant and repeated immersion in fresh and salt water without any
noticeable fading, and the leather is not altered (except in color, to some
degree) or hardened, as long as you don't use water that's too hot. (Hottest
tap water is about right.) From all I can gather, including my own test
runs, it's just plain the perfect dye. For fur. Not cloth.

-E

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] cotehardies and gothic dress yardages
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On Fri, 8 Oct 2004, Dawn wrote:

> Can anyone tell me how much yardage I should buy for a man's and a
> woman's costume? I've never made one before, and I am having an awful
> time finding a web source that gives an estimated yardage for 14th
> century clothing. I'm anticipating needing material for the
> undershirt/tunic/dress and the outer garment plus lining. I need to
> purchase the fabric before I draft the patterns, unfortunately. Help
> is appreciated.

I can't help you on men's cotes -- that would depend a lot of length
(which can vary greatly) and the man's own width, and the width of the
cloth, which would determine how many widths of garment pieces you can get
out of the fabric width.

For a woman's fitted underdress (the basic layer that goes over the
chemise), I usually tell people at least 6 yards of the main fabric, with
the same amount for lining if you're lining the full dress (which I
recommend). You'll probably want some extra lining material (or something
of similar weight and flexibility, preferably linen) for a torso mockup,
to make all your mistakes on, before cutting the full lining with skirt.

Remember that the dress pieces are all cut as one from top to bottom, so
you have to think in body lengths and widths. You'll probably end up
getting two body widths out of one cloth width; turn the pieces
head-to-toe so you can get some skirt flare in, then add gores to achieve
the desired skirt width. So, that means you need two body lengths of
fabric (to allow for four full-length panels, two per width) = about 3.5
yards, a little less if you're short and don't want any hem-puddling. Plus
a yard or so for sleeves, and a little over a yard for a single set of
gores. That gets you to about six yards total, five-and-a-half if you know
what you're doing and are of average size.

However: You will need more if the fabric is narrow and you are wide
(which may necessitate a second set of gores) or if, like me, you tend to
screw up a sleeve here and there and want to allow extra.

Overdresses vary greatly depending on sleeve style. Wide sleeves can
double the sleeve requirement, or worse. Short sleeves (usually to be
trimmed with tippets) can sometimes be cut from the cabbage of the dress,
if you're *really* good and don't make mistakes. (Some of you have seen me
in my red-and-blue diamond-pattern wool cotehardie with tippets: I managed
it out of four yards, because that's all I had, but I had absolutely
nothing left in the length, and only a handful of scraps off the sides
after piecing short sleeves out of the cabbage.) Also, the exact period of
your style makes a difference -- women's cotehardies of 1350-80 were
significantly narrower than those of 1400 or so.

You'll also need an equivalent amount for overdress lining. You might line
the sleeves in something more exotic than the body, if the sleeve lining
is showing.

Chemise/shirt is another matter entirely. I cut my women's chemises on a
rectalinear pattern, from 45-inch-wide linen divided down the middle to
make a more period width of 22.5 inches or so. It's easy to cut this out
without measurments if you can do it in one long stretch (body front, body
back, sleeve, sleeve, gores, with gussets out of the material trimmed off
the sleeve or gore angles) but when I'm working in two halves of a divided
fabric, I often measure it out beforehand so I can figure out the best way
to allot the garment pieces to the two finite lengths. If you can't work
that out, or if you're dealing with another width and have to
jigsaw-puzzle your layout, you're safe getting two garment lengths (with a
length measured as shoulder to mid-calf plus an inch for allowances). That
will allow you to cut two body pieces (side-by-side if there's room, or
end-to-end if necessary) and use the remainder for sleeves, gores,
gussets.

Men's shirts are shorter, so figure accordingly.

So, for a full outfit (for each person), you need:

chemise linen
undergown outer fabric
undergown lining
overgown outer fabric
overgown lining

If you're making the man's and woman's garments out of the same lengths of
fabric, you may have a little more wiggle room because you can nest a bit
more. But not much -- so don't count on it.

Hope that helps.

--Robin


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From h-costume-bounces@indra.com  Sat Oct  9 13:07:33 2004
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
Date: Sat, 9 Oct 2004 11:11:04 -0600
To: Historical Costume <h-costume@indra.com>
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Status: RO

What protein dye did you try?

On Oct 9, 2004, at 10:24 AM, E House wrote:

> My gorgeous, gorgeous fur is not quite the right color (too much 
> burgundy,
> not enough brown) so I decided that rather than waiting several months 
> for
> my supplier to get the correct color in stock, I'd try dyeing it. 
> Since the
> skin is washable, I wasn't too worried about the effects of dyeing; I 
> was
> just uncertain as to which dye I should use. Web research suggested 3
> alternatives: any 'good' protein dye, or a leather dye, or Rit.
>
> Well, I tried a good protein dye. Yeeech. First of all, it absolutely 
> would
> not stick; I tried everything from soaking the fur in almost pure dye 
> to
> leaving the sample in a dye bath for several hours, and not one scrap 
> of
> color was transfered to the fur. Second, the leather backing soaked up 
> all
> the dye, and though the dye didn't actually do much to change the 
> color of
> the leather, it did NOT want to come out of the leather. It would not
> exhaust; I rinsed and rinsed and rinsed and rinsed. It would get to a 
> point
> where the water ran clear, but then when I pressed the leather against 
> a
> paper towel to dry it, the paper towel immediately turned black (the 
> color
> of the dye I tested). Third and creepiest, the leather backing almost
> immediately took on a terribly unpleasant slimy feel, as though it were
> dissolving. Now, this might have simply been the feel of all that dye
> refusing to leave the leather, but it really worried me.
>
> I'd looked into leather dye a bit, and the price and chemicals 
> involved made
> me shy away from that option. So, since I had a few bits of Rit dye 
> left
> over, I tried that.
>
> It worked perfectly! I mixed up a pretty dilute dye bath, with hot tap
> water, and just dunked it, then pulled it out and rinsed it off a few
> minutes later. It rinsed clean almost immediately, and the fur's color 
> had
> changed dramatically (and almost accidentally) into pretty much the 
> exact
> color I wanted. (I overdyed burgundy with dark green, which yielded a 
> nice
> dark brown. I might want to add something with a strong hint of yellow 
> to
> the dye to get a slightly more chocolatey color, but other than that 
> it was
> surprisingly perfect for having just used whatever I had laying 
> around!)
> The leather didn't have any creepy slimy feel to it, and when I 
> pressed it
> against a paper towel, there wasn't the slightest sign of green left 
> on the
> paper towel. There was some burgundy, as there had been when I simply 
> dunked
> a sample then dried it without any dyeing. Apparently the original dye 
> was
> actually inferior to Rit! (Never thought I'd say that.)
>
> I've since read a good bit more about dyeing fur with Rit, from mailing
> lists that deal with making your own fishing flies. The rit-dyed furs
> survive constant and repeated immersion in fresh and salt water 
> without any
> noticeable fading, and the leather is not altered (except in color, to 
> some
> degree) or hardened, as long as you don't use water that's too hot. 
> (Hottest
> tap water is about right.) From all I can gather, including my own test
> runs, it's just plain the perfect dye. For fur. Not cloth.
>
> -E
>
> _______________________________________________
> 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] cotehardies and gothic dress yardages
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For a floor-length 4 panel dress with 4 godets and long fitted sleeves, I
generally get 4 yds 60" wide for the outer fabric and ditto for the lining,
and tend to have about 1/2 yard of each left over for emergencies.

The amount really depends on how you lay out the pattern, though. If my
pattern is such that I can lay out the 2 main panel pattern pieces side by
side (with hem of one beside shoulder strap of the other), then my cloth
requirements add up like this: shoulder-to-hem measurement + waist-to-hem
measurement (for the godets) + length of sleeves + ~6" margin of error. If I
can't lay the 2 main panel pieces side by side, then it adds up like this:
back shoulder-to-hem measurement + front shoulder-to-hem measurement +
sleeve length + margin of error, with the godets being cut out of the large
triangular scraps left behind when I cut out the main panels.

So by the first method, which I generally use for floor-length or shorter
styles, my yardage works out like this: 63" + 45" + 29" + 6" = 143" or just
shy of 4 yards. (Yes, I'm tall.) For the longer, trained styles layed out by
the 2nd method, a typical yardage might be: 67" + 72" + 29" + 6" = 174" or
about 4 7/8 yds.

Now, almost always, I find ways within the layout to save fabric, so I
generally end up with about half a yard of scrap, but there have been times
when I needed every inch! One thing that makes a huge difference is my habit
of making each of the main panel pattern pieces have one edge that is more
or less straight grain; this makes for much less waste, along with improving
the drape of the skirt. So while I buy 4 yds for my standard 4-panel
pattern, in practice I consider 3.5 yds my standard requirement.

-E

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Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
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----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
> What protein dye did you try?

I tried the fiber reactive dye sold by Dharma Trading, both with and without
the soda ash fixer. On wool, the fiber reactive dye colors without the soda
ash fixer, but not on the sheepskin.

I would have tried their acid dye as well (and my reading since those tests
indicated that acid dye or a method that uses urea as a mordant might work
better) but the only colors of acid dye I have on hand are salmon and
burgundy, neither of which would have shown up!

-E

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] cotehardies and gothic dress yardages
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On Sat, 9 Oct 2004, E House wrote:

> The amount really depends on how you lay out the pattern, though. If
> my pattern is such that I can lay out the 2 main panel pattern pieces
> side by side (with hem of one beside shoulder strap of the other),
> then my cloth requirements add up like this: shoulder-to-hem
> measurement + waist-to-hem measurement (for the godets) + length of
> sleeves + ~6" margin of error.
...
> So by the first method, which I generally use for floor-length or
> shorter styles, my yardage works out like this: 63" + 45" + 29" + 6" =
> 143" or just shy of 4 yards.

That allows one body length for the body panels. Are you getting four body
panels side by side, then? (You say two above, but I think you mean
four, nested in pairs.)

I've done that on a 60-inch wide fabric before, but I wouldn't advise that
for someone who isn't either skinny or experienced or both. ;-) The six
yards I mentioned earlier was assuming 45" or 54" fabric.

If you already have a good mockup or existing dress to go by, it makes
planning much easier, because you know exactly how much to allow for the
body widths and can dovetail the pieces without leaving much wiggle room.

Something I forgot to mention earlier: I do all my fitting on the lining,
and then take that apart and use it as a "pattern" for the main fabric.
This allows me to know exactly where my cuts will be, and I can often
arrange the pieces very closely on the main fabric and make use of every
inch. But it's hard to predict, as so much depends on the exact width of
the pieces, and the width of the fabrics.

Worth noting: You don't have to have the same number and size of gores on
the lining as you do on the outer fabric, as long as they come out to the
same size when you put them all together. Sometimes I'll have quite a few
gores on the inside, but manage to cut several pieces as one on the
outside. I don't think this would have been unprecedented in period, as
good (imported) wools were often quite a bit wider (e.g. 36" for
broadcloth) as linens (often around 22") -- so the outer wool could
incorporate more flare, and thus need fewer gores, in a single piece
compared to the inner linen.

--Robin


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To: h-costume@indra.com
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
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>
> My gorgeous, gorgeous fur is not quite the right color (too much burgundy,
> not enough brown) so I decided that rather than waiting several months for
> my supplier to get the correct color in stock, I'd try dyeing it. Since the
> skin is washable, I wasn't too worried about the effects of dyeing; I was
> just uncertain as to which dye I should use. Web research suggested 3
> alternatives: any 'good' protein dye, or a leather dye, or Rit.

Um, wouldn't "Lady Clairol" (tm) work as well?  Hair is hair after all.

Jerusha
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
Date: Sat, 9 Oct 2004 12:32:00 -0600
To: Historical Costume <h-costume@indra.com>
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No wonder it didnt work!  Fiber reactive dyes are for cellulosic 
fibers, not protein!  I.e., cotton, linen and rayon.  You needed to use 
acid dyes for fur, which is partly what is in Rit.  They only require 
vinegar, not urea.

On Oct 9, 2004, at 11:52 AM, E House wrote:

> ----- Original Message -----
> From: "Sylvia Rognstad" <sylvia@ntw.net>
>> What protein dye did you try?
>
> I tried the fiber reactive dye sold by Dharma Trading, both with and 
> without
> the soda ash fixer. On wool, the fiber reactive dye colors without the 
> soda
> ash fixer, but not on the sheepskin.
>
> I would have tried their acid dye as well (and my reading since those 
> tests
> indicated that acid dye or a method that uses urea as a mordant might 
> work
> better) but the only colors of acid dye I have on hand are salmon and
> burgundy, neither of which would have shown up!
>
> -E
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] cotehardies and gothic dress yardages
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
> That allows one body length for the body panels. Are you getting four body
> panels side by side, then? (You say two above, but I think you mean
> four, nested in pairs.)

Correct: 2 pattern pieces on doubled 60" fabric, for a symmetrical cutting
of 4 pieces of fabric, within one body length. I get most of the hem width
out of godets; if I were to use the entire 60" width for the godets, it
would work out to about 80" hem for the main panels, and 120" of hem in the
godets (about 5 1/2 yds total hem). Generally, though, I prefer to make the
godet hem widths match those of the main panels; it just looks better to my
eye. It hurts me deeply to leave that ~10" x 45" scrap there, though!

> I've done that on a 60-inch wide fabric before, but I wouldn't advise that
> for someone who isn't either skinny or experienced or both. ;-) The six
> yards I mentioned earlier was assuming 45" or 54" fabric.

For narrower fabric widths, I use the second method. (On both, the cut
pieces can easily be adjusted to fit a specific period cloth width, even if
the layout isn't period.) The second method also allows for much less
skinnyness--I've used the first method for up to size 16, but probably
wouldn't try it much beyond that.

I keep the pattern I made during my fitting for later use rather than making
them into the lining; since I tend to use the same sorts of materials (like
say, 5.3 oz linen) over and over the fitting remains useful to me, even
though I generally have to baste-and-tweak the next gown before I sew it all
together. Since I generally make my pattern only hip or thigh length (lower
cost, easier to store, and all I have to do is draw a couple of straight
lines when I use it for layout) I tend to try out my layouts on graph paper
rather than on the living room floor. For me, it works just as well, but I'm
the sort who uses pen and paper to plan out pretty much everything! =}

In case you were wondering, yes, I am obsessed with efficient cutting
layouts.

-E, off to get more Rit rather than catching up with correspondence. Bad E!

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Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
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The one I used I've used with great success on wool and silk, though--let me
go back and look at the bottle; I might be remembering the wrong type.

----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, October 09, 2004 1:32 PM
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)


> No wonder it didnt work!  Fiber reactive dyes are for cellulosic
> fibers, not protein!  I.e., cotton, linen and rayon.  You needed to use
> acid dyes for fur, which is partly what is in Rit.  They only require
> vinegar, not urea.

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] OT Costumes and Cats ...
Date: Sat, 9 Oct 2004 14:04:30 -0500
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Do you not know that cats have a natural instinct for feng shui? The clawing
on the fabric is letting you know that the fabric  isn't feng shui. a solid
piece of paper on an ironing board is not feng shui but many pieces all
around restores the balance and flow. :)

De


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From: "E House" <formfunc@formfunction.org>
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Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
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Not for 80 sq ft of it, though--the dye would wind up costing waaaay too
much!

----- Original Message ----- 
From: "Susan Farmer" <sfarmer@sabre.goldsword.com>
> Um, wouldn't "Lady Clairol" (tm) work as well?  Hair is hair after all.
> Jerusha

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
Date: Sat, 9 Oct 2004 13:15:34 -0600
To: Historical Costume <h-costume@indra.com>
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I take what I said back.  I have used Procion Mx on silk and it works 
ok, although I like acid dyes better.    So it may have been the kind 
of reactive dye you used.    Was it procion MX or procion H?  And I 
think that using soda ash on protein is not a very good idea.  You can 
use vinegar with reactive dyes on protein fibers.  I think the soda ash 
is too caustic.

On Oct 9, 2004, at 1:03 PM, E House wrote:

> The one I used I've used with great success on wool and silk, 
> though--let me
> go back and look at the bottle; I might be remembering the wrong type.
>
> ----- Original Message -----
> From: "Sylvia Rognstad" <sylvia@ntw.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, October 09, 2004 1:32 PM
> Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
>
>
>> No wonder it didnt work!  Fiber reactive dyes are for cellulosic
>> fibers, not protein!  I.e., cotton, linen and rayon.  You needed to 
>> use
>> acid dyes for fur, which is partly what is in Rit.  They only require
>> vinegar, not urea.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
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It was Fiber Reactive dye; however, that dye IS for both cellulose and
protein fiber. You just use different methods, with soda ash for cellulose
(tried out of desperation) and vinegar/salt for protein. I've used the same
dye for dyeing matched linen and silk or wool, with perfectly matched color
results (excepting black, which yields purple on silk) --except that the
silk and wool generally turn out a more vibrant color. So while it's not the
ideal dye to try, it should have had some effect--it had absolutely none,
except on the blotting towel!

-E

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
Date: Sat, 9 Oct 2004 13:28:55 -0600
To: Historical Costume <h-costume@indra.com>
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Thats why I asked if it was MX or H.  H requires heat setting, MX does 
not.

On Oct 9, 2004, at 1:16 PM, E House wrote:

> It was Fiber Reactive dye; however, that dye IS for both cellulose and
> protein fiber. You just use different methods, with soda ash for 
> cellulose
> (tried out of desperation) and vinegar/salt for protein. I've used the 
> same
> dye for dyeing matched linen and silk or wool, with perfectly matched 
> color
> results (excepting black, which yields purple on silk) --except that 
> the
> silk and wool generally turn out a more vibrant color. So while it's 
> not the
> ideal dye to try, it should have had some effect--it had absolutely 
> none,
> except on the blotting towel!
>
> -E
>
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Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
Date: Sat, 9 Oct 2004 14:41:28 -0500
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----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
> Thats why I asked if it was MX or H.  H requires heat setting, MX does
> not.

It does require heat--but the test swatch was done at high temperatures.

I'm not ruling out acid dye, here--but as I see it, these are my choices: a
dye that I know works perfectly, for which I have many testimonials by
people doing the exact same thing, which requires very little fuss to use,
and which is available at a store 2 miles away, OR a dye which I have no
guarantee will work, for which I have found no specific mention from anyone
who's actually tried it on fur, which requires more effort and supplies to
use, and which I'd have to mail order. What would you choose? =}

-E

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To: h-costume@indra.com
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
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>
> Not for 80 sq ft of it, though--the dye would wind up costing waaaay too
> much!

*giggle*  you probably have an *excellent* point there!

Jerusha

> From: "Susan Farmer" <sfarmer@sabre.goldsword.com>
> > Um, wouldn't "Lady Clairol" (tm) work as well?  Hair is hair after all.
> > Jerusha
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Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
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Back a number of years ago when I took a dyeing class at UW the teacher said
that Rit was a mixture of all dyes - with the idea that it works on
everything.  The problem is that as it is a mixture, so you can not always
be sure of the results.  When I know my fabric is natural fiber (or rayon),
I can pick my dye accordingly and when I'm not sure, or it is a fiber that
might take a special dye, I test with Rit and see what I get.  Often it
works.  But you do have to run tests to make sure you are getting the result
you want.

So it is likely it worked because Rit includes some of the dye used to dye
fur.

Susan in Seattle

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
Date: Sat, 9 Oct 2004 14:25:35 -0600
To: Historical Costume <h-costume@indra.com>
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Exactly.  Rit contains acid dyes and, I was told recently, direct dyes.

On Oct 9, 2004, at 2:21 PM, Susan wrote:

> Back a number of years ago when I took a dyeing class at UW the 
> teacher said
> that Rit was a mixture of all dyes - with the idea that it works on
> everything.  The problem is that as it is a mixture, so you can not 
> always
> be sure of the results.  When I know my fabric is natural fiber (or 
> rayon),
> I can pick my dye accordingly and when I'm not sure, or it is a fiber 
> that
> might take a special dye, I test with Rit and see what I get.  Often it
> works.  But you do have to run tests to make sure you are getting the 
> result
> you want.
>
> So it is likely it worked because Rit includes some of the dye used to 
> dye
> fur.
>
> Susan in Seattle
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
Date: Sat, 9 Oct 2004 14:13:42 -0600
To: Historical Costume <h-costume@indra.com>
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In that case, Rit.  If you don't do a lot of dyeing, there is no point 
in ordering dye and having to wait to get it. It's just that procion H 
should have worked.  My initial comment was based on my at the moment 
backward thinking.  Reactive dyes will work on both cellulose and 
protein but acid dyes will only work on protein.  For some reason, I 
was thinking wrong at the time.

Did you immerse the fur in hot water or steam it afterward?  Although 
I'm not sure the heat is good for the skin.  I've only used MX, not H, 
but I do know that H requires steam to set the dye.

On Oct 9, 2004, at 1:41 PM, E House wrote:

> ----- Original Message -----
> From: "Sylvia Rognstad" <sylvia@ntw.net>
>> Thats why I asked if it was MX or H.  H requires heat setting, MX does
>> not.
>
> It does require heat--but the test swatch was done at high 
> temperatures.
>
> I'm not ruling out acid dye, here--but as I see it, these are my 
> choices: a
> dye that I know works perfectly, for which I have many testimonials by
> people doing the exact same thing, which requires very little fuss to 
> use,
> and which is available at a store 2 miles away, OR a dye which I have 
> no
> guarantee will work, for which I have found no specific mention from 
> anyone
> who's actually tried it on fur, which requires more effort and 
> supplies to
> use, and which I'd have to mail order. What would you choose? =}
>
> -E
>
> _______________________________________________
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From h-costume-bounces@indra.com  Sat Oct  9 17:02:52 2004
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Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
Date: Sat, 9 Oct 2004 16:01:54 -0500
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I am familiar with how Rit works... judging by the way it rinsed out of the
fur, I think the reason my results were so great is that several of the
sorts of dyes in it grab hold of the fur, rather than simply one or two. The
dye bath lightened perceptibly, and the rinse water was clear almost
immediately! Even acid dye on normal protein fabric does not grab hold as
well.

I just tried one of my acid dyes on a sample, with mixed results. The dye in
question was salmon colored (despite the name, it yields a warm vivid
orangey red) and while the dye color was still too close to the fur's
original burgundy to detect any color change (I might have seen a hint, but
I just can't see enough to be sure), at least I didn't get the same creepy
interaction with the leather. I was able to rinse it off, though not quite
as easily as the Rit. I also put that and a Rit-dyed sample in a stronger
vinegar bath, and on each there was no color on the blotting paper towel,
which means that the original dye was such that it could be fixed with
vinegar. After rinsing, I vigorously rubbed the wet fur side of each of
those samples against the paper towel with absolutely no effect, so neither
seems likely to rub off on my undergown during normal wear.

So basically, I was able to test whether or not the acid dye would leave the
fur and leather in worse condition than they started, and the result was
that it would not. The question of color is still up in the air.

I am not a proponent of Rit, except for this--I'm the sort who would
actually rather dye her fabric the right color than buy it in the right
color, because what if I change my mind? and as such shop at Dharma often.
But for this, Rit is effective; at its best and assuming it actually colors,
an acid dye is as good, but certainly not better. I may still order an acid
dye to dye this fur; it's probably more cost effective, given the amounts
I'll need. But my whole point here is that Rit? Very effective dye for fur!

-E

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Subject: Re: [h-cost] Rit dye IS good for something! (dyeing fur)
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By the way, I just reread some of this and realized how grumpy I sounded.
Didn't mean to! I was posting in the spirit of "Who'da thunk it?", really I
was! Sorry.

-E

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From h-costume-bounces@indra.com  Sat Oct  9 17:39:06 2004
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Subject: [h-cost] 1705 German costume in America?
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Hi
My husband has decided he wants to try and portray Ye Olde Family 
Ancestor...A German who wandered over to America in 1705 in the Upper 
Chesapeake/PA region (gotta luv the Mormon data base!)
Is there an early 1800's elist out there? Other than the 1800 women's list?
Is there a huge diff in style of dress between say 1740-50 and 1705?? 
I have some info on the 1750 stuff...
Thanks
Carol--luckily he picked up on the pick-a-time hints before I started 
pants etc...I think looking at the $85 and up shoes had an effect 
<G>--me I'm looking at bare foot or wearing the socks with clocks 
only indoors!
-- 
Creative Clutter is Better Than Idle Neatness!
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From h-costume-bounces@indra.com  Sat Oct  9 20:49:03 2004
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Subject: Re: [h-cost] OT, for those with costume cats...
Date: Sat, 9 Oct 2004 17:48:17 -0700
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Greetings,

I thought cats and sewing were mandatory necessities.  A cat not worth his 
salt, so to speak, cannot find the middle of the fabric laid on the floor to 
be cut out.  It takes experience.  We have four cats.  The 3 boys usually 
concern themselves with EVERYTHING that is going on.  Gee, scissors =move= 
through fabric, fun!  Must catch!

They so far do not claw, but do try to sit on fabric and grab anything else 
that moves!  Ouch! pins sharp mom!  Ooo, sneaky under fabric also fun.

Estrelda/Sidne

>> We've never allowed our cats to jump up on the tables.
>
> Me, neither, but often when I cut things out, it's on the floor. 

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Subject: Re: [h-cost] OT, for those with costume cats...
Date: Sat, 9 Oct 2004 19:08:33 -0600
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Speaking of cats and related to costuming, Petco is holding a Halloween 
costume contest for pets.  I'd love to make up something for my cats, 
but I've never had any luck getting them to keep anything on for more 
than about 10 seconds (I made Xmas hats for them one year).  Has anyone 
else had any luck with their kitties wearing costumes?  If so, what did 
you manage to get on them?

Sylrog

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Date: Sat, 9 Oct 2004 19:52:25 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Re: OT, for those with costume cats...
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My cats are fabric snobs -- given piles of fabric, they're very 
selective about which ones they choose to curl up and go to sleep on. 
Wool, of course, is the prime choice -- and since I have the usual 
multicolored cats (including one calico who can shed just about any 
color fur there is) I've learned to hang up wool and not leave it 
lying around.

However, I was surprised to find that my cats go almot as gaga over 
linen as they do over wool. It seems to be a preferred bed in the 
absence of wool -- in winter as well as summer. I have no idea why.

I don't even give them a _chance_ to curl up on silk. <g>

They are especially "helpful" with fabric cutting (as others have 
noticed) and anything to do with string. My little cat used to sit 
behind my sewing machine and try to "catch" the moving thread that 
runs along the top of the machine from the spool to the sewing arm. 
When she did this with the machine stopped -- as when I got to the 
end of the seam and cut the thread -- she quite handily un-threaded 
the needle for me every time she succeeded in grabbing that thread. 
Gosh, thanks <g>!

A friend of mine has trained her cat that there is "people thread" 
and "cat thread." If the cat tries to play with the "people thread" 
she gets a cut length of "cat thread" to play with instead. It seems 
to work with _her_ cat, but when I've tried it with mine, they get 
bored with the "cat thread" in about three seconds and go back to 
trying to bite the "people thread."

I've also heard people refer to the necessity of having their 
projects "blessed" by having the cats fall asleep on them before they 
can be considered truly "finished."
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Sat, 09 Oct 2004 20:29:57 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Re:  Queen Elizabeth in armor?
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At 09:49 PM 10/6/2004 -0400, you wrote:
>-Elisabeth
>(sigh... my brain's still trying to come up with the period word that 
>describes the scenes and mini-pageant/plays that some guilds would sponsor 
>and/or put on during celebrations in London and other larger towns)

I think the term you are looking for is "pageant".

Joan Jurancich
joanmj@surewest.net

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From h-costume-bounces@indra.com  Sun Oct 10 04:51:54 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] 1705 German costume in America?
Date: Sun, 10 Oct 2004 10:45:08 +0200
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Hi,
The early 1700 cut of mens clothes is basically the same as in mid 1700. But
the coat has no pleats in the sides, they fall freely.
There is a coat in Norah Waughs Cut of mens clothes from 1700. It has
buttonholes all way down to the bottom and the sides has the same. The Cuffs
are very big and heavy and they have 3 buttons in the front and 3 buttons at
the back side. Breches are cut high in the waist and not as low as the mid
1700 ones (wich almost sits on the hips).
A waistcoat from that time would have long sleaves wich goes longer than the
coats cuffs. They also would be embellished heavily with buttons and
buttonholes.
You will be making a lot of buttonholes, if you are not good at this, you
surely will be when you have finished such an outfit :-)
There only is this early speciment in Norah Waughs book, only the cut of the
coat, no waistcoat. But you could use the book Evolution of Fashion pattern
and cut  it has pattern cut of all parts. (These are made for theater use)
but they are based from historical garments.

Have Fun!

Bjarne

----- Original Message ----- 
From: "fastusminimus" <cahuff@mindspring.com>
To: <h-costume@indra.com>
Sent: Saturday, October 09, 2004 11:37 PM
Subject: [h-cost] 1705 German costume in America?


> Hi
> My husband has decided he wants to try and portray Ye Olde Family
> Ancestor...A German who wandered over to America in 1705 in the Upper
> Chesapeake/PA region (gotta luv the Mormon data base!)
> Is there an early 1800's elist out there? Other than the 1800 women's
list?
> Is there a huge diff in style of dress between say 1740-50 and 1705??
> I have some info on the 1750 stuff...
> Thanks
> Carol--luckily he picked up on the pick-a-time hints before I started
> pants etc...I think looking at the $85 and up shoes had an effect
> <G>--me I'm looking at bare foot or wearing the socks with clocks
> only indoors!
> -- 
> Creative Clutter is Better Than Idle Neatness!
> _______________________________________________
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Subject: [h-cost] Linen weight and outer garments
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I would like to purchase some linen from the co-op we're having. Included is a 5.3 oz linen. Is this heavy enough for outer garments for 1540 england? What about Normans? (much earlier I think is what she told me but not exactly when) If not what is an apprpriate weight? Thank you , Angelique

		
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Subject: [h-cost] cats and sewing
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De wrote: 

Do you not know that cats have a natural instinct for feng shui? The clawing
on the fabric is letting you know that the fabric  isn't feng shui. a solid
piece of paper on an ironing board is not feng shui but many pieces all
around restores the balance and flow. :)

De

Oh yes, kitty feng-shui! Mine too are adept at this, often knocking
down books or re-arranging their food dishes when it doesn't suit
their delicate (and incomprehensible) definition of wholeness and
harmony! :P

Someone also mentioned cats that chew patterns - one of mine used to
have a problem with this (I've been using mostly newspaper lately,
which seems to be less interesting). She liked to help me cut out and
would roll around and get so excited about the pattern that she'd
start gnawing the edges - and promptly run off if I caught her at it!

Both cats have figured out how to pull pins out of the pincushions, so
I have to keep these closed in my sewing box if I step away from a
project for more than a couple of minutes.

Re: cats and thread - this CAN kill them, I know because of a long
series of trips to the vet and emergency surgery on one of mine last
year. Please, PLEASE keep thread away from your furbabies; even put
scrap thread in a closed container or garbage can to be sure!

Allison T.
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Subject: [h-cost] Re: 1705 German costume in America?
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At 12:01 PM -0600 10/10/04, h-costume-request@indra.com wrote:
>Hi,
>The early 1700 cut of mens clothes is basically the same as in mid 1700. But
>the coat has no pleats in the sides, they fall freely.
>There is a coat in Norah Waughs Cut of mens clothes from 1700. It has
>buttonholes all way down to the bottom and the sides has the same. The Cuffs
>are very big and heavy and they have 3 buttons in the front and 3 buttons at
>the back side. Breches are cut high in the waist and not as low as the mid
>1700 ones (wich almost sits on the hips).
>A waistcoat from that time would have long sleaves wich goes longer than the
>coats cuffs. They also would be embellished heavily with buttons and
>buttonholes.
>You will be making a lot of buttonholes, if you are not good at this, you
>surely will be when you have finished such an outfit :-)
>There only is this early speciment in Norah Waughs book, only the cut of the
>coat, no waistcoat. But you could use the book Evolution of Fashion pattern
>and cut  it has pattern cut of all parts. (These are made for theater use)
>but they are based from historical garments.

Thanks!!!!

So then there wasn't a huge diff between say German and English 
silhouettes?...and of course we managed to pick a time with minimal 
documentation <G>

Alas I think that the beautiful work Bjarne does is not really 
appropriate for someone who came over to kill Indians (talk about 
your non-PC ancestor <G> even horse thieves and pyrates rate higher 
<VBEG>)--but the basics sound like the same, just wools and 
linens...and guns...and yes I can do button holes by hand --grump, 
moan-- but I prefer Mr Singer...<G>

It was fun to see the teachers reaction when the grand niece did her 
presentation on "who your ancestor was"...... there was the quick 
phone call home...


Ta
Carol, whose early ancestors came over as indentured types...
-- 
Creative Clutter is Better Than Idle Neatness!
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: 1705 German costume in America?
Date: Sun, 10 Oct 2004 14:17:28 -0500
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Status: RO

Was he a civilian when he came over or a soldier?
Though it is not my era of major knowledge, yes there was some differences
in clothing styles between the English and the German. Enough that the
people in the colonies could tell who was from what part of Europe.
Most civilians, to my knowledge, did not come over to kill "Indians" but to
acquire land. Exception was the person hired to protect the colony from
those deemed hostile to the members of the colony in exchange for land.
Soldiers and Mercenaries were paid to protect the colony and at times would
choose to buy land and stay in the America's instead of returning to Europe
when their contract was up.
I do not have urls to give to show the difference. Sorry.

De

-----Original Message-----
Thanks!!!!

So then there wasn't a huge diff between say German and English
silhouettes?...and of course we managed to pick a time with minimal
documentation <G>

Alas I think that the beautiful work Bjarne does is not really
appropriate for someone who came over to kill Indians (talk about
your non-PC ancestor <G> even horse thieves and pyrates rate higher
<VBEG>)--but the basics sound like the same, just wools and
linens...and guns...and yes I can do button holes by hand --grump,
moan-- but I prefer Mr Singer...<G>

It was fun to see the teachers reaction when the grand niece did her
presentation on "who your ancestor was"...... there was the quick
phone call home...


Ta
Carol, whose early ancestors came over as indentured types...
--
Creative Clutter is Better Than Idle Neatness!
_______________________________________________
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  Sun Oct 10 15:48:20 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] 1705 german costume in America
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Hi,
I know that the examples i mentioned before was upperclass. But remember
that porer people followed the high fashion as much as they could and just
used simpler fabrics.
Wool suit would be very likely to use for your husbands suit. And then brass
buttons.
Here in Denmark, the french fashion came in via Germany so the fashion in
Denmark was very like the germans.
A man of this time would look as if his coat was much two big for him. It
went down to under the knees. The waistcoat could be buttoned only in the
waist and the cravatte tied a la Steinkirke, wich had one of the ends putten
trough a buttonhole.
At Gammel Estrup where i have made the courtdress, they have a big portrait
of a gentleman in such a suit. I rember one of the curators told me that
they thoaght the picture was out of proportions, but actually it is not. It
is just the fashion wich is that way ...........

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Ron Carnegie" <r.carnegie@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: 1705 German costume in America?
Date: Sun, 10 Oct 2004 16:45:19 -0400
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   It is a fringe of two of my areas of knowledge, and for most of the
British colonies history (even more so by the 18th century) there are not
garrisons of professional soldiers  here.  This is less true in the French
and Spanish Colonies.  Furthermore, as has been mentioned most did not come
here to "kill" Indians.  This is true even of the soldiers who when here
were here to kill Europeans, the killing of the native peoples was a
secondary effect.  In fact it is this very issue that causes Bacon's
Rebellion, (Bacon wanted to randomly kill Indians and Governor Berkeley
forbade it) though a little earlier than the point of time in question.

   I am curious about the suggestion that an Indentured Servant is lower
than a horse thief or pirate.  Firstly an indentured servant is NOT the same
as a Criminal Indenture.  Indentured servants enter into a contractual
obligation by choice, often to pay for passage, Criminal Indentures are
sentences issued in Britain, and usually NOT to felons  (there are
exceptions to all things legal in Colonial America however). A frequent
punishment for Indentured servants convicted of misdemeanors however was the
extension of the indenture.  A very common example of this would be
adultery.

	Indentured Servitude confuses a great deal of Americans today, especially
in family histories (and I imagine that most Europeans rarely consider it).
I have had many people insist that there ancestors were white slaves, but
there were no such thing in British North America. At least not legally.
There could be slaves that appeared white. The condition of Slavery was
based on the mother, so children of mixed heritage, born to a slave mother
would be slave, but they are also not legally white. Of course this mixing
of races could continue causing the possibility of cousins that look very
much and just as white by appearance and yet one is free and the other slave
due to their matrilineal condition. Enslaving those defined legally as
whites WAS illegal. (So was curiously enough enslaving Christians or
Moslems, though the slave code was altered to prevent converts from being
freed.

   These differences are not simply linguistic.  The rights enjoyed by an
Indentured Servant were more numerous than a Criminal indenture and both
enjoyed more than the slave (who yes does enjoy some rights legally, though
they are very few).  Of these three categories of people, only the slave is
actually considered chattel property under the law.

 Horse thievery (being Grand Larceny) and Piracy are both punishable by
death.  Pirates are in fact frequently left in gibbets as warnings to
others.  Here in Williamsburg 13 members of Black beard's crew where left
hanging which is NOT the usual procedure for hangings in Virginia.  Black
beard's head was supposedly left on a pike at Point Comfort which is near
the entrance of the Chesapeake Bay.

  As far as regional differences in clothing a suspect that you will find
that they are far less than is being suggested, but your best bet would be
to consult artwork of the period from the region. I have two suits for this
period (in fact meant for 1706) but neither of them are farmers.  One is for
the Acting Governor and the other a Barrister and therefore based upon
judicial fashion.  I also have seen and handled some original waistcoats of
the period.  In this same program, we also have a weaver and a Sheriff.

	 Main differences between mid-century and early were described well by
Bjarne.  Breeches higher, they have a center fly, with an odd overlapping
closure arrangement.  The waistcoats tend to be sleeved.  The sleeves and
the backs are often of a different fabric than the fashion fabric, and
apparently from the small sample of originals I have seen, often striped.
The cuffs on the sleeves will be of the fashion fabric however as they are
visible.  The waistcoats button all the way down the front and are often
about knee length.  They are usually only fastened with the buttons to about
the waist.  They are cut very much like the typical reenactor 1750s patterns
but even longer.  The pocket flaps are often very low, much lower than would
seem to make sense.  The coats are again like the very full coats of the
1750s, I suspect that they are even fuller.  This would make sense as the
restoration coats were, and the change of century fashions seem to be a
transition of this.  They also have buttons all the way down the front and
the lower pockets.  Also very large fold back cuffs.  I have never had the
opportunity to study an original coat or breeches.

	My governor suit has fold back cuffs on the waistcoat that fold over the
cuffs of the coat.  In fact they are buttoned to the coat's buttons.  I did
not research this costume, but rather just wear it, but it is not like it's
designer to make things like that up out of whole cloth.

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of otsisto
> Sent: Sunday, October 10, 2004 2:17 PM
> To: Historical Costume
> Subject: RE: [h-cost] Re: 1705 German costume in America?
>
>
> Was he a civilian when he came over or a soldier?
> Though it is not my era of major knowledge, yes there was some differences
> in clothing styles between the English and the German. Enough that the
> people in the colonies could tell who was from what part of Europe.
> Most civilians, to my knowledge, did not come over to kill
> "Indians" but to
> acquire land. Exception was the person hired to protect the colony from
> those deemed hostile to the members of the colony in exchange for land.
> Soldiers and Mercenaries were paid to protect the colony and at
> times would
> choose to buy land and stay in the America's instead of returning
> to Europe
> when their contract was up.
> I do not have urls to give to show the difference. Sorry.
>
> De
>
> -----Original Message-----
> Thanks!!!!
>
> So then there wasn't a huge diff between say German and English
> silhouettes?...and of course we managed to pick a time with minimal
> documentation <G>
>
> Alas I think that the beautiful work Bjarne does is not really
> appropriate for someone who came over to kill Indians (talk about
> your non-PC ancestor <G> even horse thieves and pyrates rate higher
> <VBEG>)--but the basics sound like the same, just wools and
> linens...and guns...and yes I can do button holes by hand --grump,
> moan-- but I prefer Mr Singer...<G>
>
> It was fun to see the teachers reaction when the grand niece did her
> presentation on "who your ancestor was"...... there was the quick
> phone call home...
>
>
> Ta
> Carol, whose early ancestors came over as indentured types...
> --
> Creative Clutter is Better Than Idle Neatness!
> _______________________________________________
> 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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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] Re: 1705 German costume in America?
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There are images on the site below for the period, although the second one 
is not very helpful. You need to scroll down to see the male images. In 
addition to Bjarne's comments, in virtually all cases there is no collar, 
on the coat, but a narrow strip of binding of the same material as the 
coat. The sleeves are often very open, and finish half way down the 
forearm, in order to display the sleeve of the waistcoat.The pockets are 
indeed very low, and can be quite idiosyncratic in their shape and 
decoration. They might run parallel to the centre front for example. "Cut 
of Men's Clothes " by Norah Waugh gives several examples. There are also 
text descriptions of what was worn when, together with fabrics in use. 
There are reproductions of drawings from original sources as well as the 
patterns.

http://alpha.furman.edu/~kgossman/history/restor/images.htm

http://alpha.furman.edu/~kgossman/history/restor/images.htm

There is a very early brown wool suit in the Museum of Costume in Bath, and 
a couple, I think in the Victoria and Albert Museum, in London. There is a 
pattern of a man's coat in Denmark in a book by Ellen Andersen, published 
by the National Museet in 1977. I think the title, in English, is "Fashions 
of the 18th Century," (or "the 1700's" - my Danish is not so good.) I think 
I also have patterns from the King's Wardrobe in Denmark, but I would have 
to look those out. I can't post pictures or scans at the moment, due to an 
ongoing hitch, but if anyone is interested, I will do so when I can get the 
hitch de-hitched. I am aware that the patterns of clothes for gentleman are 
not exactly what is worn by the ordinary man, but if you go a year of two 
earlier, you can at least get an idea of the shapes.

Also there are photos of very early coats in the Hermitage in St. 
Petersburg, but they would have been court dress, copied from French 
fashion. One actually belonged to Peter the Great, and I seem to remember 
there is an effigy of him in a coat of the period

Suzi. 


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Linen weight and outer garments
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At 06:41 AM 10/10/2004 -0700, you wrote:
>I would like to purchase some linen from the co-op we're having. Included 
>is a 5.3 oz linen. Is this heavy enough for outer garments for 1540 
>england? What about Normans? (much earlier I think is what she told me but 
>not exactly when) If not what is an apprpriate weight? Thank you , Angelique


I would suggest the heavier 7.+ weight linen for an outer garment. I use 
the 5.3 oz for shirts and doublet linings. I use the 7+oz for interlinings 
of my husband's two noble doublets (with outer coverings in velvet). I do 
both major Tudor eras.

I don't know anything about Normans.

Kimiko


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I've made kirtles and chemises from 5.3 oz linen.  I typically line the
bodice and sleeves of kirtles.  I have also made some nice surcoats (top
lined) from this weight of linen.  I wouldn't use it for any outer piece of
a Tudor costume -- most of those were heavier velvet or brocade and the
like.

Becky

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kimiko Small
Sent: Sunday, October 10, 2004 4:00 PM
To: Historical Costume
Subject: Re: [h-cost] Linen weight and outer garments

At 06:41 AM 10/10/2004 -0700, you wrote:
>I would like to purchase some linen from the co-op we're having. Included 
>is a 5.3 oz linen. Is this heavy enough for outer garments for 1540 
>england? What about Normans? (much earlier I think is what she told me but 
>not exactly when) If not what is an apprpriate weight? Thank you ,
Angelique


I would suggest the heavier 7.+ weight linen for an outer garment. I use 
the 5.3 oz for shirts and doublet linings. I use the 7+oz for interlinings 
of my husband's two noble doublets (with outer coverings in velvet). I do 
both major Tudor eras.

I don't know anything about Normans.

Kimiko


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Organization: Medieval Hats: http://www.virtue.to
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Subject: [h-cost] Gloves, 1260ish
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Hi Folks,

I was sent over to look at this manuscript by a friend, and in the 
course of "thumbing" through it on the web, found this very detailed 
image of gloves on three men.  I know there are some glove-fanatics out 
there, so here's the link to the big image:

http://www.nls.uk/digitallibrary/murthly/folios/f011r_f.htm

Clear piecing of the thumb area, maybe a godet underneath it to the edge....

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
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Date: Mon, 11 Oct 2004 08:09:31 +0100 (BST)
From: Marquesate <nicolas_fouquet@yahoo.com>
Subject: RE: [h-cost] Re: 1705 German costume in America?
To: Historical Costume <h-costume@indra.com>
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Personally, I would never even use the notion of "German", you could possibly
differentiate between "English" and "French" fashion of the period, eventhough
the differences were slight, mostly merely regarding choice of fabric, etc. 

For more information:

http://www.kipar.org/resources/index.html

Nicole


	
	
		
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: 1705 German costume in America?
Date: Mon, 11 Oct 2004 05:00:43 -0500
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Technically, "Germany" did not exist in the 1700s. You have principalities.
Prussia, Saxony, Hess, Mecklenburg, etc.

Though this is not Germanic men's clothing of the 1700s it talks about a
dress that is similar but different from French and English found in
"German" portraits. What I was trying to say is that there was similarity in
dress but there were differences.

http://www.marquise.de/en/1700/allemande/index.shtml

English men's
http://www.nga.gov/cgi-bin/pimage?39489+0+0+gg63

English children of French Protestant ancestry painted by a "German" artist
http://www.nga.gov/cgi-bin/pimage?61132+0+0

German(?)Rococo
http://art-prints-on-demand.com/?&pid=666.html?xcmpx=1168
http://art-prints-on-demand.com/?&pid=666.html?xcmpx=1168
http://art-prints-on-demand.com/?&pid=666.html?xcmpx=1168
http://gallery.euroweb.hu/html/m/mengs/index.html
http://www.abcgallery.com/M/mengs/mengs.html

Hope this helps.
De

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Date: Mon, 11 Oct 2004 11:17:57 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: RE:  [h-cost] cotehardies and gothic dress yardages
To: h-costume@indra.com
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> Can anyone tell me how much yardage I should buy for a man's and a 
> woman's costume? I've never made one before, and I am having an awful 
> time finding a web source that gives an estimated yardage for 14th 
> century clothing. I'm anticipating needing material for the 
> undershirt/tunic/dress and the outer garment plus lining. I need to 
> purchase the fabric before I draft the patterns, 
> unfortunately. Help is 
> appreciated.

My "rule of thumb" for such things is hem to shoulder (plus seams and
hem allowance) multiplied by four.

Hope this helps

Teddy
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Date: Mon, 11 Oct 2004 11:19:46 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: RE: [h-cost] Hennin
To: h-costume@indra.com
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> > Princess pointy-hats are called hennins, yes? (Hats not my area.) Is

> > there any other historically accurate name for them? The little 
> > princess in question doesn't like that word. Something French
instead, 
> > maybe?

Why don't you just call it a "hat" or a "headdress" then?

Teddy
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From: "Danielle Nunn-Weinberg" <dannw@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Mon, 11 Oct 2004 11:21:23 +0000
Subject: RE:  [h-cost] cotehardies and gothic dress yardages
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Shouldn't you add enough for sleeves as well?

Cheers,
Danielle
----- Original Message -----
From: Teddy <Teddy@mdx.ac.uk>
Date: Mon, 11 Oct 2004 11:17:57 +0100
To: h-costume@indra.com
Subject: RE:  [h-cost] cotehardies and gothic dress yardages

> 
> > Can anyone tell me how much yardage I should buy for a man's and a 
> > woman's costume? I've never made one before, and I am having an awful 
> > time finding a web source that gives an estimated yardage for 14th 
> > century clothing. I'm anticipating needing material for the 
> > undershirt/tunic/dress and the outer garment plus lining. I need to 
> > purchase the fabric before I draft the patterns, 
> > unfortunately. Help is 
> > appreciated.
> 
> My "rule of thumb" for such things is hem to shoulder (plus seams and
> hem allowance) multiplied by four.
> 
> Hope this helps
> 
> Teddy
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

-- 
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Subject: Re: [h-cost] Re: 1705 German costume in America?
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----- Original Message ----- 
From: "Ron Carnegie" <r.carnegie@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 10, 2004 4:45 PM
Subject: RE: [h-cost] Re: 1705 German costume in America?


>    It is a fringe of two of my areas of knowledge, and for most of the
> British colonies history (even more so by the 18th century) there are not
> garrisons of professional soldiers  here.  This is less true in the French
> and Spanish Colonies.  Furthermore, as has been mentioned most did not
come
> here to "kill" Indians.  This is true even of the soldiers who when here
> were here to kill Europeans, the killing of the native peoples was a
> secondary effect.  In fact it is this very issue that causes Bacon's
> Rebellion, (Bacon wanted to randomly kill Indians and Governor Berkeley
> forbade it) though a little earlier than the point of time in question.
>
>    I am curious about the suggestion that an Indentured Servant is lower
> than a horse thief or pirate.  Firstly an indentured servant is NOT the
same
> as a Criminal Indenture.  Indentured servants enter into a contractual
> obligation by choice, often to pay for passage, Criminal Indentures are
> sentences issued in Britain, and usually NOT to felons  (there are
> exceptions to all things legal in Colonial America however). A frequent
> punishment for Indentured servants convicted of misdemeanors however was
the
> extension of the indenture.  A very common example of this would be
> adultery.
>
> Indentured Servitude confuses a great deal of Americans today, especially
> in family histories (and I imagine that most Europeans rarely consider
it).
> I have had many people insist that there ancestors were white slaves, but
> there were no such thing in British North America. At least not legally.
> There could be slaves that appeared white. The condition of Slavery was
> based on the mother, so children of mixed heritage, born to a slave mother
> would be slave, but they are also not legally white. Of course this mixing
> of races could continue causing the possibility of cousins that look very
> much and just as white by appearance and yet one is free and the other
slave
> due to their matrilineal condition. Enslaving those defined legally as
> whites WAS illegal. (So was curiously enough enslaving Christians or
> Moslems, though the slave code was altered to prevent converts from being
> freed.
>
>    These differences are not simply linguistic.  The rights enjoyed by an
> Indentured Servant were more numerous than a Criminal indenture and both
> enjoyed more than the slave (who yes does enjoy some rights legally,
though
> they are very few).  Of these three categories of people, only the slave
is
> actually considered chattel property under the law.
>
>  Horse thievery (being Grand Larceny) and Piracy are both punishable by
> death.  Pirates are in fact frequently left in gibbets as warnings to
> others.  Here in Williamsburg 13 members of Black beard's crew where left
> hanging which is NOT the usual procedure for hangings in Virginia.  Black
> beard's head was supposedly left on a pike at Point Comfort which is near
> the entrance of the Chesapeake Bay.
>
>   As far as regional differences in clothing a suspect that you will find
> that they are far less than is being suggested, but your best bet would be
> to consult artwork of the period from the region. I have two suits for
this
> period (in fact meant for 1706) but neither of them are farmers.  One is
for
> the Acting Governor and the other a Barrister and therefore based upon
> judicial fashion.  I also have seen and handled some original waistcoats
of
> the period.  In this same program, we also have a weaver and a Sheriff.
>
> Main differences between mid-century and early were described well by
> Bjarne.  Breeches higher, they have a center fly, with an odd overlapping
> closure arrangement.  The waistcoats tend to be sleeved.  The sleeves and
> the backs are often of a different fabric than the fashion fabric, and
> apparently from the small sample of originals I have seen, often striped.
> The cuffs on the sleeves will be of the fashion fabric however as they are
> visible.  The waistcoats button all the way down the front and are often
> about knee length.  They are usually only fastened with the buttons to
about
> the waist.  They are cut very much like the typical reenactor 1750s
patterns
> but even longer.  The pocket flaps are often very low, much lower than
would
> seem to make sense.  The coats are again like the very full coats of the
> 1750s, I suspect that they are even fuller.  This would make sense as the
> restoration coats were, and the change of century fashions seem to be a
> transition of this.  They also have buttons all the way down the front and
> the lower pockets.  Also very large fold back cuffs.  I have never had the
> opportunity to study an original coat or breeches.
>
> My governor suit has fold back cuffs on the waistcoat that fold over the
> cuffs of the coat.  In fact they are buttoned to the coat's buttons.  I
did
> not research this costume, but rather just wear it, but it is not like
it's
> designer to make things like that up out of whole cloth.
>
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> > Behalf Of otsisto
> > Sent: Sunday, October 10, 2004 2:17 PM
> > To: Historical Costume
> > Subject: RE: [h-cost] Re: 1705 German costume in America?
> >
> >
> > Was he a civilian when he came over or a soldier?
> > Though it is not my era of major knowledge, yes there was some
differences
> > in clothing styles between the English and the German. Enough that the
> > people in the colonies could tell who was from what part of Europe.
> > Most civilians, to my knowledge, did not come over to kill
> > "Indians" but to
> > acquire land. Exception was the person hired to protect the colony from
> > those deemed hostile to the members of the colony in exchange for land.
> > Soldiers and Mercenaries were paid to protect the colony and at
> > times would
> > choose to buy land and stay in the America's instead of returning
> > to Europe
> > when their contract was up.
> > I do not have urls to give to show the difference. Sorry.
> >
> > De
> >
> > -----Original Message-----
> > Thanks!!!!
> >
> > So then there wasn't a huge diff between say German and English
> > silhouettes?...and of course we managed to pick a time with minimal
> > documentation <G>
> >
> > Alas I think that the beautiful work Bjarne does is not really
> > appropriate for someone who came over to kill Indians (talk about
> > your non-PC ancestor <G> even horse thieves and pyrates rate higher
> > <VBEG>)--but the basics sound like the same, just wools and
> > linens...and guns...and yes I can do button holes by hand --grump,
> > moan-- but I prefer Mr Singer...<G>
> >
> > It was fun to see the teachers reaction when the grand niece did her
> > presentation on "who your ancestor was"...... there was the quick
> > phone call home...
> >
> >
> > Ta
> > Carol, whose early ancestors came over as indentured types...
> > --
> > Creative Clutter is Better Than Idle Neatness!
> > _______________________________________________
> > 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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Can someone tell me when Battenberg lace came into use?  I have a very nice 5-6" bertha that would go so nicely on an early 19th century dress or gown. 

Kathleen 
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> > My "rule of thumb" for such things is hem to shoulder (plus seams and
> > hem allowance) multiplied by four.

 > Shouldn't you add enough for sleeves as well?

(sorry had to chop this to be able to answer easily;) )

Not really, unless you were making a tube from all four panels;)

When you cut your body pieces you'll have plenty of room left over to cut
sleeves and facings with this guide. No way will you use the full width of
fabric for each panel of a four panel gown.

Not historical by any stretch of the imagination:
http://costumes.glittersweet.com/movies/ladym.htm
I'm 5'6" and a bit (darn osteopenia and shrinkage...) and that was made from
140cm wide fabric (56" or so) and barely 4 times from shoulder to floor..
actually to ankle.

There is a good deal of fabric in the seam allowance as well and the pieced
train is pleated into the back. A more authentic cut would have allowed a
front insert as well as the back.

The gown is going to be a LotR inspired gown instead as the sleeves just are
not long enough for me to be happy. I have some totally anachronistic fabric
to make the Lady m gown from;) And using techniques Ellen Terry said was
used (paints and application of other texture though she didn't mention the
beetle wings) there should still be nice texture and a good disguising of
the fabric;)

Or I could use some of the 15X7m green velveteen I have.....(just over 15X7
yards really)
http://glittersweet.com/greenvelveteen.jpg

michaela de bruce
http://glittersweet.com


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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] lace bertha
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At 07:54 11/10/2004 -0400, you wrote:
>Can someone tell me when Battenberg lace came into use?  I have a very 
>nice 5-6" bertha that would go so nicely on an early 19th century dress or 
>gown.


If this is the same as "tape lace" - I cannot find any reference to 
Battenburg lace in any of my lace books - then according to Margaret Simeon 
in her book " The History of Lace" it first became popular in the last 
quarter of the 19th century. This would mean that your collar is a bit late 
for an early 19th century gown.

Suzi in London


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At 4:20 AM -0600 10/11/04, h-costume-request@indra.com wrote:
>    I am curious about the suggestion that an Indentured Servant is lower
>than a horse thief or pirate.  Firstly an indentured servant is NOT the same
>as a Criminal Indenture.  Indentured servants enter into a contractual

Ah no, It was my DH hubby's ancestor --the one that came over and 
ended up as said paid killer that I referred to as regarded as so 
non-PC today, rating lower than a horse thief...and then stayed and 
settled--we are still untangling the tree <G> Looks like two brothers 
came over...

MY side of the family started as indentured...just plain folks that 
came over and then stayed as farmers...no idea wether the indenture 
was voluntary or not.

Ta
Carol--ain't genealogy fun!
-- 
Creative Clutter is Better Than Idle Neatness!
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At 4:20 AM -0600 10/11/04, h-costume-request@indra.com wrote:
>A man of this time would look as if his coat was much two big for him. It
>went down to under the knees. The waistcoat could be buttoned only in the
>waist and the cravatte tied a la Steinkirke, wich had one of the ends putten
>trough a buttonhole.
>At Gammel Estrup where i have made the courtdress, they have a big portrait
>of a gentleman in such a suit. I rember one of the curators told me that
>they thoaght the picture was out of proportions, but actually it is not. It
>is just the fashion wich is that way ...........


Thank you all for your help!!! You have given me a good start and 
made various family members very happy!
Sigh -- now to start on muslins...But hey at least the first pair o 
stockings will work and the wool is washing for the second 
set....what a treat to work with a nice combing fleece all for me!!! 
It is long fairly fine and very lustrous --- should glow like silk 
when done and hopefully I can drop the needle size one or two '0's...

Ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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Subject: [h-cost] Mens shirt 1585-1600 finally finished!
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Dear All

I have finally uploaded the last of the pictures from the partial recontruction
of the mens shirt from the Musuem of Costume in Bath.  Furthermore I have
just receieved permsission from the musuem to add an article on the construction
with details obtained from the curators notes so watch this space.  It will
also update some of the measurements in Janet Arnolds article, as these
are slightly different and do make a difference when making up the shirt.

The pictures can be found at:

http://www.threadsofhistory.co.uk/commissions/bkshirt/index.htm

Enjoy!

Rachel
Threads of History
www.threadsofhistory.co.uk

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Subject: Re: [h-cost] Mens shirt 1585-1600 finally finished!
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At 13:27 11/10/2004 +0100, you wrote:
>Dear All
>
>I have finally uploaded the last of the pictures from the partial 
>recontruction
>of the mens shirt from the Musuem of Costume in Bath.  Furthermore I have
>just receieved permsission from the musuem to add an article on the 
>construction
>with details obtained from the curators notes so watch this space.  It will
>also update some of the measurements in Janet Arnolds article, as these
>are slightly different and do make a difference when making up the shirt.
>
>The pictures can be found at:
>
>http://www.threadsofhistory.co.uk/commissions/bkshirt/index.htm
>
>Enjoy!
>
>Rachel
>Threads of History
>www.threadsofhistory.co.uk


Congratulations. You have done a very beautiful job.

Suzi in London


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Dear Rachel... a lovely reproduction.  Congratulations!   Bridgette / Mari



>The pictures can be found at:
>
>http://www.threadsofhistory.co.uk/commissions/bkshirt/index.htm

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Dear Rachel.
That is awsome work you have done here, it is fabulous and gorgeous and what
a look!
Thanks a lot for the peak of it!
Must have taken you ages to make. It looks so fine as the real one, like if
it was painted on.
Gosh!
Congratulations!!!!!!
Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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Subject: [h-cost] Happy Thanksgiving
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I just wanted to post a Happy THanksiving to one and all.  I know most of you are probably American, but me being Canadian, we are celebrating it and would like to be thankful that I have places like this to go to learn explore and share.
 
Janet



---------------------------------
Post your free ad now! Yahoo! Canada Personals
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Rachel wrote:

> I have finally uploaded the last of the pictures from the partial recontruction
> of the mens shirt from the Musuem of Costume in Bath.  
> 
> http://www.threadsofhistory.co.uk/commissions/bkshirt/index.htm

Beautiful work. Makes me wish my eyes and my coordination weren't shot....

I'm looking forward to the shirt construction details when you add them.



Dawn


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Subject: [h-cost] fitting question
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Howdy,

Some of you may remember my attempts at rebuilding a c.1890 dress and 
turning it into a c.1869 dress this summer. Here's how it came out:

http://www.reddawn.net/costume/halloween/gunslingers.jpg

That's me in purple on the left. I'm pretty happy with the conversion, I 
know it isn't completely authentic in detail, but it had the right feel, 
for that event anyway.

What does bother me is the way the bodice fits under the arm. You can 
see in the photo the way it pulls. I'd like to know how to correct that, 
or at least avoid it in the future. Does anyone have any advice or 
suggestions for improving the fit?



Dawn


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At 12:04 11/10/2004 -0500, you wrote:
Howdy,

Some of you may remember my attempts at rebuilding a c.1890 dress and 
turning it into a c.1869 dress this summer. Here's how it came out:

http://www.reddawn.net/costume/halloween/gunslingers.jpg

That's me in purple on the left. I'm pretty happy with the conversion, I 
know it isn't completely authentic in detail, but it had the right feel, 
for that event anyway.

What does bother me is the way the bodice fits under the arm. You can see 
in the photo the way it pulls. I'd like to know how to correct that, or at 
least avoid it in the future. Does anyone have any advice or suggestions 
for improving the fit?


Try putting a period correct pad in the armhole, to pad out the gap between 
arm and bosom. This is seen in many mid 19th century bodices.

Suzi


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From h-costume-bounces@indra.com  Mon Oct 11 14:14:47 2004
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Date: Mon, 11 Oct 2004 11:13:47 -0700
Subject: Re: [h-cost] Mens shirt 1585-1600 finally finished!
From: Lynn Downward <ldownward@chori.org>
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Rachel, this is wonderful. What weight fabric is this made of? Handkerchief
linen?

LynnD



> From: Rachel <reholliday@lineone.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Mon, 11 Oct 2004 13:27:47 +0100
> To: <h-costume@indra.com>, <H-needlework@ansteorra.org>
> Subject: [h-cost] Mens shirt 1585-1600 finally finished!
> 
> Dear All
> 
> I have finally uploaded the last of the pictures from the partial
> recontruction
> of the mens shirt from the Musuem of Costume in Bath.  Furthermore I have
> just receieved permsission from the musuem to add an article on the
> construction
> with details obtained from the curators notes so watch this space.  It will
> also update some of the measurements in Janet Arnolds article, as these
> are slightly different and do make a difference when making up the shirt.
> 
> The pictures can be found at:
> 
> http://www.threadsofhistory.co.uk/commissions/bkshirt/index.htm
> 
> Enjoy!
> 
> Rachel
> Threads of History
> www.threadsofhistory.co.uk
> 
> __________________________________________________________________
> Get Tiscali Broadband From Ł15:99
> http://www.tiscali.co.uk/products/broadbandhome/
> 
> 
> 
> 
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At 11:08 AM -0600 10/11/04, h-costume-request@indra.com wrote:
>I have finally uploaded the last of the pictures from the partial 
>recontruction
>of the mens shirt from the Musuem of Costume in Bath.  Furthermore I have
>just receieved permsission from the musuem to add an article on the 
>construction
>with details obtained from the curators notes so watch this space.  It will
>also update some of the measurements in Janet Arnolds article, as these
>are slightly different and do make a difference when making up the shirt.
>
>The pictures can be found at:
>
>http://www.threadsofhistory.co.uk/commissions/bkshirt/index.htm


Oh pretty pretty!!! Yes please let us know when the updates are ready!
Ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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It's really wonderful, Rachel. Such lovely work!

Arlys

> > http://www.threadsofhistory.co.uk/commissions/bkshirt/index.htm


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From h-costume-bounces@indra.com  Mon Oct 11 17:46:01 2004
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Date: Mon, 11 Oct 2004 17:44:39 -0400
From: Bonnie Booker <Aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] lace bertha
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> >Can someone tell me when Battenberg lace came into use?  I have a very
> >nice 5-6" bertha that would go so nicely on an early 19th century dress or
> >gown.
In LEGACY OF LACE by Kathleen Warnick and Shirley Nilsson  has it back
to at least the 15th century.  It went by other names as well, such as
Renaissance Lace, Brussels Lace, Ribbon Lace, and one of the styles of
Belgium Lace.  You can find  more at
http://www.belgiantapestries.com/nesletters/march01/lacehistory.htm
and http://www.belgian-lace.com/store/Info/1hist.htm.

-- 
Aspasia Moonwind
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] fitting question
Date: Mon, 11 Oct 2004 18:51:32 -0600
To: Historical Costume <h-costume@indra.com>
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I am not seeing any fitting darts or seams on the bodice front except a 
princess seam way to the side.  Is there another one?  Because a 
princess seam so far over does not help shape the bust as needed, which 
may be the problem.

Sylrog

On Oct 11, 2004, at 11:31 AM, Suzi Clarke wrote:

> At 12:04 11/10/2004 -0500, you wrote:
> Howdy,
>
> Some of you may remember my attempts at rebuilding a c.1890 dress and 
> turning it into a c.1869 dress this summer. Here's how it came out:
>
> http://www.reddawn.net/costume/halloween/gunslingers.jpg
>
> That's me in purple on the left. I'm pretty happy with the conversion, 
> I know it isn't completely authentic in detail, but it had the right 
> feel, for that event anyway.
>
> What does bother me is the way the bodice fits under the arm. You can 
> see in the photo the way it pulls. I'd like to know how to correct 
> that, or at least avoid it in the future. Does anyone have any advice 
> or suggestions for improving the fit?
>

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From h-costume-bounces@indra.com  Mon Oct 11 21:29:44 2004
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Hi. What period is "vintage" for you? Is ir WWII (I would look for 
images of Soviet women snipers from the "Great Patriotic War") or 
later?  Good Luck, Mike T.

tessalina wrote:

>Help, please!
> 
>
>  
>
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In a message dated 10/11/2004 8:48:58 PM Eastern Standard Time, 
sylvia@ntw.net writes:

> What does bother me is the way the bodice fits under the arm. You can 
> >see in the photo the way it pulls. I'd like to know how to correct 
> >that, or at least avoid it in the future. Does anyone have any advice 
> >or suggestions for improving the fit?
> 

Your bust looks too low...or rather in a 21st century location. A corset 
might raise it to the right level.
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AlbertCat@aol.com wrote:

> 
> Your bust looks too low...or rather in a 21st century location. A corset 
> might raise it to the right level.

I was wearing a corset, that's part of what annoys me about the fit. I 
don't have much to squeeze into a corset, but without it that dress 
doesn't close.

I may need to re-draft the corset, though. :(



Dawn


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Hi, Heather. The Museum of London has a number of items in their 
1650-1680 collection, including pipeclay figures and other toys, and a 
waistcoat (knitted) in a children's size. There is also what appears to 
be a pewter toy made in the shape of a sideboard, complete with beaker 
and plates (15th Cent.?), and a number of what might be pewter toys 
(dishes, flasks, etc.) from the van Beuningen collection in Holland. For 
extant clothing, look at "Clothes and the Child" by Anne Buck and "The 
Guide to Historic Costume" by Karen Baclawski. For images of children, 
look to "Pride and Joy; Children's portraits in the Netherlands 
1500-1700" edited by Jan Baptist Bedaux and Rudi Ekkart, which contains 
photos of extant clothing on pg. 74 and extant toys starting on pg 297  
Cheers, Mike T..


>------------------------------------------------------------------------
>
>
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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Mens shirt 1585-1600 finally finished!
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At 01:27 PM 10/11/2004 +0100, you wrote:
>Furthermore I have
>just receieved permsission from the musuem to add an article on the 
>construction
>with details obtained from the curators notes so watch this space.  It will
>also update some of the measurements in Janet Arnolds article, as these
>are slightly different and do make a difference when making up the shirt.


Hello Rachel,

I love the work you have done on the shirt blackwork embroidery and the 
shirt as well. It is wonderful. I also look forward to your construction 
details, as that is almost the kind of shirt I am looking to work on for my 
husband. I had recreated his shirt from the Janet Arnold info I found 
online, but there is indeed something missing. Your shirt is the closest I 
have seen recreated that is similar to this image:
http://www.tudor-portraits.com/Henry2.jpg , which is what I am trying to 
make for my husband (minus the full jeweled gold band).

Thanks so much for sharing.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Thanks, Janet, Mike T. (an Italian-Amerian, among other things...)

Janet Renzetti wrote:

>I just wanted to post a Happy THanksiving to one and all.  I know most of you are probably American, but me being Canadian, we are celebrating it and would like to be thankful that I have places like this to go to learn explore and share.
> 
>Janet
>
>
>
>
>
>  
>
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I love your shirt. I have started some of the same design to use in a 
chemise. I'm looking for more examples of womens garments containing 
blackwork - does anyone have any links to share with me?
Many thanks, Aylwen
-----------------------------------------------
http://www.earthlydelights.com.au
-----------------------------------------------

On Monday, October 11, 2004, at 10:27 PM, Rachel wrote:

> Dear All
>
> I have finally uploaded the last of the pictures from the partial 
> recontruction
> of the mens shirt from the Musuem of Costume in Bath.  Furthermore I 
> have
> just receieved permsission from the musuem to add an article on the 
> construction
> with details obtained from the curators notes so watch this space.  It 
> will
> also update some of the measurements in Janet Arnolds article, as these
> are slightly different and do make a difference when making up the 
> shirt.
>
> The pictures can be found at:
>
> http://www.threadsofhistory.co.uk/commissions/bkshirt/index.htm
>
> Enjoy!
>
> Rachel
> Threads of History
> www.threadsofhistory.co.uk
>
> __________________________________________________________________
> Get Tiscali Broadband From Ł15:99
> http://www.tiscali.co.uk/products/broadbandhome/
>
>
>
>
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] lace bertha
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>It went by other names as well, such as
>Renaissance Lace,

That's a 19th century name for it.

>  Brussels Lace,

Bobbin lace appliqued to more bobbin lace.


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

              //// \\\
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Subject: [h-cost] Tudor dress diaries
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Hi all

I recently finished my husband's Tudor black velveteen doublet with base, 
and his Italian bonnet. I just got the photos from Hanford faire, where he 
is dressed in it all. He's also wearing the blackwork shirt I made for him. 
The photos also show my son wearing the simple linen chemise and reworked 
blue velveteen gown he wore. I have been wanting to share this with you all 
for awhile, but figured I could wait until the photos came in.

I have a few LJ entries that covers them all:
* Tudor Doublet & Base Dress Diary (with photos)
http://www.livejournal.com/users/sstormwatch/146987.html (with detail photos)
http://www.livejournal.com/users/sstormwatch/148706.html
http://www.livejournal.com/users/sstormwatch/150202.html
http://www.livejournal.com/users/sstormwatch/154008.html
(with faire photos of the whole outfits)

* A Toddler's Linen Chemise.
http://www.livejournal.com/users/sstormwatch/148756.html

* HAT DIARY: Making an Italian bonnet
http://www.livejournal.com/users/sstormwatch/131960.html
http://www.livejournal.com/users/sstormwatch/135070.html
http://www.livejournal.com/users/sstormwatch/153846.html (with detail 
photos of hat)

Now on to working on my costume stuff. I have to spiff up my old Tudor 
dress for Kearney faire, as I have been putting it off for far too long. I 
figured I could wait, since I had appropriate stuff, and my husband and son 
had nothing appropriate. My basic dress is fine for now, it just doesn't 
have the right "jewels", the hoops need replacing, I need a new linen 
chemise, a new forepart, and matching under sleeves. I only hope I can do 
this all in the next month.

Kimiko

Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Date: Tue, 12 Oct 2004 00:21:36 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
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Subject: [h-cost] Women's blackwork garments (was Mens shirt 1585-1600
 finally finished!)
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At 02:44 PM 10/12/2004 +1000, you wrote:
>I love your shirt. I have started some of the same design to use in a 
>chemise. I'm looking for more examples of womens garments containing 
>blackwork - does anyone have any links to share with me?
>Many thanks, Aylwen


Hi Aylwen,

I have the following links so far. Not all are for women's garments, 
however, but they have blackwork somewhere.

An Elizabethan Smock and Shirt (the original shirt that was reproduced by 
Rachel)
http://costume.dm.net/bath/

Shirts and Smocks at the V&A Museum
http://costume.dm.net/va/smocks.html

Shirts, smocks, and chemise
http://homepage.mac.com/festive_attyre/gallery/linens/undies.html
There is a blackworked shirt at the bottom of the page.

Elizabethan Smocks & Chemises
http://costume.dm.net/chemise.html

Cut, Construction, and Ornamentation of Elizabethan Shirts
http://home.earthlink.net/~magdlena/shirt/shirt.html
I used the info on this page as a starting point in making my husband's shirt.


Blackwork Designs:
For historical blackwork designs, I would normally point a person to 
Bronwyn's site, but most of the info has been temporarily pulled. But 
here's the link anyway.
http://costume.dm.net/blackwork/index.html

Elizabethan Blackwork: The Blackwork Embroidery Archives
http://www.blackworkarchives.com/

Skinner Sisters: Stitch On Line: Blackwork Issue
http://www.skinnersisters.com/stitch/issue1/index.html

I had a few more links, but they aren't working for some reason or another. 
But hopefully the above will help you.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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What a beautiful family you have.  I especially like the look on your son's
face.  He looks like he could bolt away at any second!  Lovely work on both
items!

Becky


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kimiko Small
Sent: Monday, October 11, 2004 11:52 PM
To: h-costume@indra.com
Subject: [h-cost] Tudor dress diaries

Hi all

I recently finished my husband's Tudor black velveteen doublet with base, 
and his Italian bonnet. I just got the photos from Hanford faire, where he 
is dressed in it all. He's also wearing the blackwork shirt I made for him. 


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Subject: [h-cost] RE: h-costume Digest, Vol 3, Issue 818
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Hi Bjarne,

I have to confess I am still a little overawed by it myself.  Once I saw
it on its owner I had real difficulty believing that I actually produced
it!  When you have worked on something for so long (100+ hours - I stopped
counting after about 20 on the cuffs!) you get very used to noticing all
the little bits that aren't quite right as you are so close to the detail.
 And then seeing it finished it's a bit of a shock.

I tried really hard to get as close to the original as possible.  I hope
I got someway there.

Glad you liked it.  I'll try and get the construction notes tryped up and
posted to the site this weekend.  Then it's on to the next project!

Rachel


>-- Original Message --
------------------------------

Message: 11
Date: Mon, 11 Oct 2004 16:08:44 +0200
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk> 
Subject: [h-cost] mens shirt finally finished
To: <h-costume@indra.com>
Message-ID: <004a01c4af9b$d1c24ce0$4096fea9@CPQ21932199711>
Content-Type: text/plain;	charset="iso-8859-1"

Dear Rachel.
That is awsome work you have done here, it is fabulous and gorgeous and
what
a look!
Thanks a lot for the peak of it!
Must have taken you ages to make. It looks so fine as the real one, like
if
it was painted on.
Gosh!
Congratulations!!!!!!
Bjarne

Threads of History
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Subject: Re: [h-cost] lace bertha
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Thank you, Suzi.  This was my recollection also; I did wonder though about
its earliest use.  Now I will look at some of the designs for the late 19th
C.  I can conceive of bretells, but hate to cut it.
Kathleen
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 11, 2004 8:03 AM
Subject: Re: [h-cost] lace bertha


> At 07:54 11/10/2004 -0400, you wrote:
> >Can someone tell me when Battenberg lace came into use?  I have a very
> >nice 5-6" bertha that would go so nicely on an early 19th century dress
or
> >gown.
>
>
> If this is the same as "tape lace" - I cannot find any reference to
> Battenburg lace in any of my lace books - then according to Margaret
Simeon
> in her book " The History of Lace" it first became popular in the last
> quarter of the 19th century. This would mean that your collar is a bit
late
> for an early 19th century gown.
>
> Suzi in London
>
>
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] lace bertha
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At 08:34 12/10/2004 -0400, you wrote:
>Thank you, Suzi.  This was my recollection also; I did wonder though about
>its earliest use.  Now I will look at some of the designs for the late 19th
>C.  I can conceive of bretells, but hate to cut it.
>Kathleen
>----- Original Message -----
>From: "Suzi Clarke" <suzi@suziclarke.co.uk>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Monday, October 11, 2004 8:03 AM
>Subject: Re: [h-cost] lace bertha
>
>
> > At 07:54 11/10/2004 -0400, you wrote:
> > >Can someone tell me when Battenberg lace came into use?  I have a very
> > >nice 5-6" bertha that would go so nicely on an early 19th century dress
>or
> > >gown.


Just a thought - mostly collars from the first third of the century tend to 
be embroidered muslin, known as whitework or Ayrshire work. They vary in 
size from small and delicate to enormous pelerines. I do not recall seeing 
any kind of bobbin or needle lace used for a whole collar, only for 
edgings. I have a few fashion plates of the early period, and whitework is 
very popular.

Suzi


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Very nice! I particularly like the way you did the trim. Can't wait to
see the complete outfit!



Karen

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In a message dated 10/12/2004 8:42:11 AM Eastern Standard Time, 
suzi@suziclarke.co.uk writes:

> I do not recall seeing 
> any kind of bobbin or needle lace used for a whole collar,

A friend who collects vintage has one [1830s, medium size...comes slightly 
past the shoulders and the fronts dip to about 8" below the waist when tucked 
into a belt] that is made of delicate white net dotted with flowers in couched 
cord-like stuff...like a delicate sutach[sp]. It's very bobbin lace-like....but 
I don't know much about different laces. What does one call such lace....cord 
couched onto net?
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Subject: [h-cost] Thanks for suggestions  :)
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Greetings  :)
 
I really appreciate all of the suggestions for supplies and construction  
techniques that were offered here in response to my query about beaded  girdles.  
I will post pictures when I eventually get it completed, but  please do not 
expect it to be too soon.  My husband is deployed in the  Middle East and is 
due to return in December, and I have a slew of sewing  projects to complete 
before then.  Our four year old is getting a blue  moire silk tafetta dress 
patterned after a Victorian Middy, complete with an  Inishmacsaint lace sailor 
style collar, and a red cotton velvet coat and  hat.  I have a new dress to make 
as well as several heirloom lingerie  pieces out of silk and French laces.  I 
am also about to begin a blackwork  shirt for the husband, and all of the info 
here on that subject has been  great.  A friend has a birthday this month and 
I have just started an  Italian Bonnet from the same pattern that Kimiko has 
made and discussed, so that  is another point of interest for me.
 
Busy?  Yeah, but then, I have five kids and it is always busy in one  way or 
another.  
 
I cannot tell you all how much I enjoy this list, and how much it means to  
me to be part of a group that is so willing to share and learn from each  
other.  It is nice that even though we have different motivations, and each  of us 
has our own distinct comfort level with authenticity,  that we can  gel 
together so nicely and create such a harmonious atmosphere for  education.
 
:)
~Kimberley
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: authenticity (was Re: [h-cost] Thanks for suggestions  :)
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>and each  of us
>has our own distinct comfort level with authenticity,  that we can  gel
>together so nicely and create such a harmonious atmosphere for  education.

It always amuses me that so many of us here are quite heavily into 
authenticity for periods which didn't have computer lists on which to learn 
how to do those periods more authentically ;)

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

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I need to make his and hers clothing circa 1880 for a Halloween murder
mystery party coming up soon. Obviously I don't need exceedingly accurate
clothing, but would like us to look nice. Can anyone recommend commercial
patterns for this (ie, Simplicity, Butterick etc). Would want patterns that
aren't too complicated, since this is only for costumes.

Talia


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Subject: Re: [h-cost] 1880s patterns
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khanson wrote:

> I need to make his and hers clothing circa 1880 for a Halloween murder
> mystery party coming up soon. Obviously I don't need exceedingly accurate
> clothing, but would like us to look nice. 

Oooh.... we did that last year, minus the murder. :)

Simplicity 5457 (women) is the only one I know of in their line.

I don't know of any McCall's patterns for that time period.

Butterick has 3721 for men, which I have used, and it works ok. The 
design is for "morning" ie, 'daytime' wear, not evening. I consulted 
"The Cut of Men's Clothes" for diagrams on evening coats and made 
alterations to the lower front sides. There were some problems with the 
directions, steps were skipped and one of the diagrams for placing the 
pockets is wrong (and I think the pocket piece was marked wrong, too, so 
beware)

Butterick also has 4154 which is a generic pattern for women that can be 
made to look like a couple different eras, including 1880-ish. Be warned 
that the bustle drape is in a separate accessory pattern set. Then 
there's 4212 which might work for you, but I think it's getting into 
1890's in style.

None of the women's patterns are very accurate, but they give you the 
right sort of feel. I would suggest consulting something like "59 
Authentic Turn of the Century Patterns" or one of the other Victorian 
fashion catalogue reprints that Dover has out these days.

Fortunately for the men, evening wear hasn't changed all that much in 
over 100 years, and a nice dark suit dressed out with a pocket watch, 
top hat, silk handkerchief, tie, and gloves will work for your husband. 
I found a lot of the accessories at formalwear clearance sales and local 
thrift shops.



Dawn



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Subject: Re: [h-cost] 1880s patterns
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There is...was?....a Simplicity pattern for a jacket that is very good: 8591. 
The interesting thing about this pattern is it is for a modern outfit.
 The jacket can easily be made pretty accurate....even more so than some of 
their costume 1890s. I used it to make an Q&D 1860s outfit.

It has the double darted front that is so very common in the 19th century. 
What you have to change is the back and sleeves but this is easy.

The back has banana darts each side of CB. I just extend the dart lines down 
to the jacket hem and curve them up into the armseye and add a CB seam instead 
of cutting it on the fold. This gives you a 4 piece back instead of a one 
piece with darts. You can flare or add gussets below the waistline in back to get 
that fish tail effect in the peplum area they did back then.

The sleeves need to be exploded at the top too and gathered into the armseye 
to make them leg-o-mutton sleeves. Just vertically slice the pattern in 3 or 4 
places from the sleeve head to the elbow and fan it apart to add the 
fullness. Also add 5" or so the height of the center top tapering it down in a curve 
to the original line about 2' before you get to the underarm seam.

It's really very easy. Even if writing these instructions sounds complicated, 
the actual doing of it is not hard to understand. Try it. 

An 1890s skirt is not so simple but there are tons of patterns in books to 
follow. All you need is the waist, hip and waist-to-hem measurements.

You could use the 8591 skirt as a base [it's a straight long skirt with darts 
to fit it from hip to waist] by flaring the front from the hips down to, oh 
about 40" total at the hem, and using a half circle [two quarter circles with a 
CB seam] for the back. Or make 4 to 6 gores that equal a half circle using 
the darts on the pattern as a guide....like with the back jacket.

I swear it's easy.

Have fun!
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Alas....now that I've gone through all the instructions I see the pattern 
number 8519 no longer exists. Drat!
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And it was 8519....NOT 8591....

I'm not only behind the times but dyslexic!
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] lace bertha
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> 
> >  Brussels Lace,
> 
> Bobbin lace appliqued to more bobbin lace.
> 
The site I quoted shows to kinds of Brussels Lace.  Yes, one is the
Bobbin Lace type, the other is a Bobbin Lace tape with needlework
stitches between to make a design.
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Dear All,

Does anyone have a good bibliography of costuming
works, sites, etc.

Thanks,
Cynthia


		
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Subject: [h-cost] Period Bird Embroidery
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Dear all (probably Bjarne, the most!),

Does anyone have any good sources for 1730-1850
(roughly) embroidery of birds? I would prefer <real>
birds, as opposed to <mythic> ones (like the phoenix).

I am looking for something nice to embroider on a
friend's pockets for Christmas.

Thanks a lot,
Cynthia




		
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Hi Cynthia, 

The MedCos community maintains a list of resources including websites and 
books useful to costumers for periods pre-1600. You can find them at:
http://slumberland.org/medcos
you can either create an account (safe and friendly bunch of people, with no 
spam etc.) or visit as a guest if you just want to look at the resources.

Regards,
Karinne
MedCos 16th Century moderator

Quoting Ms Cynthia Schrage <pioneercynthia@yahoo.com>:

> Dear All,
> 
> Does anyone have a good bibliography of costuming
> works, sites, etc.
> 
> Thanks,
> Cynthia
> 
> 
> 		
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This site reviews ready-made halloween costumes that you can buy online. 
    I started in the "men's" section and wandered over to the Lord of 
the Rings listings, and since I've nearly spit my drink out over the 
keyboard three times now I thought I would pass this on.

http://www.phillyburbs.com/Halloween/

Don't look if you're going to be offended at sarcastic comments on 
silly, cheap costumes.



Dawn


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Subject: Re: [h-cost] Costume Bibliography
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At 06:35 PM 10/12/2004 -0700, you wrote:
>Dear All,
>
>Does anyone have a good bibliography of costuming
>works, sites, etc.
>
>Thanks,
>Cynthia


Oh, my what a question. Is there any specific time frame you are looking 
for or just in general?

My suggestion for a general list of sites (I am presuming Internet sites) 
would be The Costumer's Manifesto
http://www.costumes.org
You can spend hours on this site, chasing all the links on a particular 
subject.

As for bibliography, again, what time frame? There are soooo many books out 
there.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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I have one specific to Gloves.

        Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "Ms Cynthia Schrage" <pioneercynthia@yahoo.com>
To: <h-costume@indra.com>
Sent: Tuesday, October 12, 2004 8:35 PM
Subject: [h-cost] Costume Bibliography


: Dear All,
:
: Does anyone have a good bibliography of costuming
: works, sites, etc.
:
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At 9:15 PM -0500 10/12/04, Dawn wrote:
>This site reviews ready-made halloween costumes that you can buy 
>online.    I started in the "men's" section and wandered over to the 
>Lord of the Rings listings, and since I've nearly spit my drink out 
>over the keyboard three times now I thought I would pass this on.
>
>http://www.phillyburbs.com/Halloween/
>
>Don't look if you're going to be offended at sarcastic comments on 
>silly, cheap costumes.

I have to share this: I happened to see the "Best Dressed" issue of 
People Magazine in the dentist's office last week (ordinarily I never 
see this magazine at all) and some of the comments in the back (Worst 
Dressed) section were hilarious. My favorite one was of a 
nice-looking female celebrity wearing fairly nice jeans and a shirt, 
with one of those crocheted shawls over it with big square meshes. 
The comment underneath was "Not much of a fashion threat, but 
somewhere the salmon are nervous."
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: Re: [h-cost] OT: costume humor (not PC)
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  You shouldn't read some of these while eating a PBJ sandwich, either...<G>
Thanks for the giggle!

Liadain

-----Original Message-----
From: Dawn <dawn@reddawn.net>
Sent: Oct 12, 2004 8:15 PM
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] OT: costume humor (not PC)

This site reviews ready-made halloween costumes that you can buy online. 
    I started in the "men's" section and wandered over to the Lord of 
the Rings listings, and since I've nearly spit my drink out over the 
keyboard three times now I thought I would pass this on.

http://www.phillyburbs.com/Halloween/

Don't look if you're going to be offended at sarcastic comments on 
silly, cheap costumes.



Dawn


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At 21:02 12/10/2004 -0500, you wrote:
>I have one specific to Gloves.
>
>         Chiara
>
>: Does anyone have a good bibliography of costuming
>: works, sites, etc.
>:
>: Thanks,
>: Cynthia


I'd be interested in that one, please.

Suzi


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Subject: [h-cost] 1912-1920s Fashion Designers
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I have up-loaded 40 new (to our online Library) color fashion plates by fashion designers from the 1912-1920s.  These additions give a total of 94 fashion plates in our series, Fashion Designers of Their Time, http://www.costumegallery.com/Designers/ . Near the end of this message is a listing of the designers with new fashion plate additions.  We are also in the process of adding Spanish translations for some fashion plates in this series.  I will be working on this translation for the designer Agnes this week. When visiting our Designers series, if you see a fashion plate credited to L'Art et la Mode, there is generally a French and English translations. 

This week, I will be adding to the Library all the fashion articles from a June 1923 issue of a French magazine L'Art et la Mode (Art & Fashion).  There will be French and English translations of these articles.    To keep up with the updates to our online Costume Library go to: http://www.costumegallery.com/updates.htm

LIST OF NEW FASHION PLATES (DATING 1912-1923) PER DESIGNER   
*** Paul Poiret: 8 plates
*** House of Worth: 4 plates
*** House of Rodier: 2 plates
*** Emile, Ltd. (hair salon): 2 plates
*** Jacque Doucet: 2 plates
*** Georges Doeuillet: 7 plates
*** John Redfern: 1 plate
*** Madeleine Cheruit: 2 plates
*** Jeanne Lanvin: 11 plates

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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> > My "rule of thumb" for such things is hem to shoulder (plus seams
and 
> > hem allowance) multiplied by four.

> Shouldn't you add enough for sleeves as well?

I usually get the sleeves and extra skirt gores from the fabric to the
side of the bodice -part.

Teddy
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 1880s patterns
Date: Wed, 13 Oct 2004 07:32:34 -0400
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May I suggest for "his" that you pick up a suit with vest from a thrift shop
and modify it.  You will need to take the crease out of the trousers and add
one or two more buttons to the jacket front. Steam press the lapels open and
re fold before you do this.  There will still be a bit of a curve on the top
button placement, but for the occasion, this should be ok.
Kathleen
----- Original Message ----- 
From: "khanson" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 12, 2004 4:08 PM
Subject: [h-cost] 1880s patterns


> I need to make his and hers clothing circa 1880 for a Halloween murder
> mystery party coming up soon. Obviously I don't need exceedingly accurate
> clothing, but would like us to look nice. Can anyone recommend commercial
> patterns for this (ie, Simplicity, Butterick etc). Would want patterns
that
> aren't too complicated, since this is only for costumes.
>
> Talia
>
>
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Subject: Re: [h-cost] Costume Bibliography
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http://www.glove.org/glovebooks.htm

       Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 13, 2004 2:03 AM
Subject: Re: [h-cost] Costume Bibliography


: At 21:02 12/10/2004 -0500, you wrote:
: >I have one specific to Gloves.
: >
: >         Chiara
: >
: >: Does anyone have a good bibliography of costuming
: >: works, sites, etc.
: >:
: >: Thanks,
: >: Cynthia
:
:
: I'd be interested in that one, please.
:
: Suzi
:
:
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From h-costume-bounces@indra.com  Wed Oct 13 09:33:54 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20041013014050.40938.qmail@web13525.mail.yahoo.com>
Subject: Re: [h-cost] Period Bird Embroidery
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Dear Cynthia,
I have not found any birds to embroider from period works, but what i did is
i went to ebay store and searched for chinese silk embroidery. It comes up
with a lot of beautifull embroideries, and many of those have birds sitting
on branches.
Then i composed my birds from this!

Bjarne


----- Original Message ----- 
From: "Ms Cynthia Schrage" <pioneercynthia@yahoo.com>
To: <h-costume@indra.com>
Sent: Wednesday, October 13, 2004 3:40 AM
Subject: [h-cost] Period Bird Embroidery


> Dear all (probably Bjarne, the most!),
>
> Does anyone have any good sources for 1730-1850
> (roughly) embroidery of birds? I would prefer <real>
> birds, as opposed to <mythic> ones (like the phoenix).
>
> I am looking for something nice to embroider on a
> friend's pockets for Christmas.
>
> Thanks a lot,
> Cynthia
>
>
>
>
>
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Subject: [h-cost] Henry VIII and Tudor sleeves
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All,

I have the urge to make the outer 'coat' layer from Henry VIII's famous 
portrait by Holbein, and I spent some time last night looking up 
pictures and comparing them to the pattern I have. Every time I have 
seen this garment made it's been constructed with a short puffed sleeve 
gathered into a band above the elbow.

But this isn't what I see in the portrait.

http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/02henry8.jpg

There's something else going on with the sleeve, I can see part of it 
hanging behind his arm. I just can't make out what the sleeve is 
supposed to be shaped like.

More examples here:

http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/06henry8.jpg

http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/6henry8.jpg



Does anyone know what this sleeve is shaped like, how it is constructed, 
or can you point me to other images where the garment is more clearly 
depicted?



Dawn


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From: Janet Renzetti <celtic_dragonrider@yahoo.ca>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
To: Historical Costume <h-costume@indra.com>
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It looks to me like it is a full puff not just a top puff and because it is full under his arm is pushed flat.  Most puff sleeves flattenout out under the arm and the puff is only made for the top or front part of the sleeve.  Theya re bulky and uncomfortable, but worse when the ouff wraps around the arms.  Also he has a peblum/flower pedal thing happening for decoration on the cuff.

 
Janet
Dawn <dawn@reddawn.net> wrote:
All,

I have the urge to make the outer 'coat' layer from Henry VIII's famous 
portrait by Holbein, and I spent some time last night looking up 
pictures and comparing them to the pattern I have. Every time I have 
seen this garment made it's been constructed with a short puffed sleeve 
gathered into a band above the elbow.

But this isn't what I see in the portrait.

http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/02henry8.jpg

There's something else going on with the sleeve, I can see part of it 
hanging behind his arm. I just can't make out what the sleeve is 
supposed to be shaped like.

More examples here:

http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/06henry8.jpg

http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/6henry8.jpg



Does anyone know what this sleeve is shaped like, how it is constructed, 
or can you point me to other images where the garment is more clearly 
depicted?



Dawn


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Costume Bibliography
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At 08:24 13/10/2004 -0500, you wrote:
>http://www.glove.org/glovebooks.htm
>
>
>
>: At 21:02 12/10/2004 -0500, you wrote:
>: >I have one specific to Gloves.
>: >
>: >         Chiara



Thank you.

Suzi


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 08:42 13/10/2004 -0500, you wrote:
>All,
>
>I have the urge to make the outer 'coat' layer from Henry VIII's famous 
>portrait by Holbein, and I spent some time last night looking up pictures 
>and comparing them to the pattern I have. Every time I have seen this 
>garment made it's been constructed with a short puffed sleeve gathered 
>into a band above the elbow.
>
>But this isn't what I see in the portrait.
>
>http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/02henry8.jpg
>
>There's something else going on with the sleeve, I can see part of it 
>hanging behind his arm. I just can't make out what the sleeve is supposed 
>to be shaped like.
>
>More examples here:
>
>http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/06henry8.jpg
>
>http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/6henry8.jpg
>
>
>
>Does anyone know what this sleeve is shaped like, how it is constructed, 
>or can you point me to other images where the garment is more clearly depicted?

I have made this coat, and I think, as you say, the top half is a very, 
very large puff sleeve. I found cartridge pleats, with wadding/batting 
inside made them stand out. Then the bottom is a tube, attached to the back 
half of the puff only. The front of the tube is where the seam comes, and 
is split down for 4-6 inches. There is a band round the front of the puff, 
and the top of the "tube" is finished and decorated on the inside, so when 
it falls open in those small petals they look fancy. Anyway, that is how I 
interpreted it. Hope that helps.

There are portraits of Edward Vl in a much simplifies sleeve that might 
give you an idea, but I cannot find the image anywhere in a search.

Suzi


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Subject: Re: [h-cost] Henry VIII and Tudor sleeves
From: ruthanne baumgartner <ruthanneb@mindspring.com>
To: Historical Costume <h-costume@indra.com>
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on 10/13/04 9:42 AM, Dawn at dawn@reddawn.net wrote:

> All,
> 
> I have the urge to make the outer 'coat' layer from Henry VIII's famous
> portrait by Holbein, and I spent some time last night looking up
> pictures and comparing them to the pattern I have. Every time I have
> seen this garment made it's been constructed with a short puffed sleeve
> gathered into a band above the elbow.
> 
> But this isn't what I see in the portrait.
> 
<snip>
> 
> 
> Does anyone know what this sleeve is shaped like, how it is constructed,
> or can you point me to other images where the garment is more clearly
> depicted?
> 

Let me first plead complete ignorance, not having attempted this coat and
having seen only patterns that treat the sleeve as a short puff.

But then let me say that to my unschooled eyes the sleeves in the painting
look like full-length sleeves tapered from a large puffed shoulder to a
narrower wrist and with two openings: one normal at the wrist and one a
T-slit opening like those you see on Master's academic gowns, permitting the
wearer to bring his arm through at the elbow. (Master's gowns don't have two
sleeve openings, though--the traditional Master's gown has only the
mid-sleeve slit, the end of the sleeve being sewn closed, making it a great
place to keep sunglasses, wallet, and car keys!) If that's how these sleeves
are made, then Henry has taken the elbow option. I'd suspect that part of
the fullness in the "puff" is the result of the gathered fabric's being
lined with the  full-bodied fur you see peeking out at the sleeve opening.
The falling scallops might be an ornamental treatment that pretties up the
slit when the wearer is using the wrist opening instead.

Of course, what I think I see may be influenced by the fact that I'm more
familiar with academic regalia than with royal robes....If I'm way off, just
ignore me!

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

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From: purplkat@optonline.net
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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My question regards the man in the background...

The 'over-coat' he is wearing - is that a man's outfit or can ladies wear it??

Kat

----- Original Message -----
From: Janet Renzetti <celtic_dragonrider@yahoo.ca
> 
> http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/6henry8.jpg

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> I have the urge to make the outer 'coat' layer from Henry VIII's
> famous portrait by Holbein, and I spent some time last night looking
> up pictures and comparing them to the pattern I have. Every time I
> have seen this garment made it's been constructed with a short puffed
> sleeve gathered into a band above the elbow.
> 
> But this isn't what I see in the portrait.
> 
> http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/02henry8.jpg
> 
> There's something else going on with the sleeve, I can see part of it
> hanging behind his arm. I just can't make out what the sleeve is
> supposed to be shaped like.

There is, as you can tell, more to the sleeve than just a puffed 
sleeve. What you are seeing is a hanging sleeve. From the size of 
his, I'd say that his is a functional one, rather than the vestigal 
ones that are more like tippets.

If you have a copy of Janet Arnold's Patterns of Fashion 1560-1620, 
figure 25 has a pattern for that kind of sleeve. However, it's not 
shown slashed so that you can see how the arm can be out. There is a 
painting (figure 32) which lets you see the hanging sleeve a little 
better (although it's more of the figure 36 in cut, so it doesn't 
have the same upper puff.) 

Probably the best views I've seen of this are in a manuscript 
painting of Francois I and his court. You get to see back views of 
the sleeves so that they are much easier to figure out. But I haven't 
been able to find an online picture of this, nor can I find the book 
where I  first found the painting. (I have a slide of it, but that 
doesn't help anyone. And of course although I wrote down all the info 
about the painting itself on the slide, I didn't put down which book 
it came from.)

I hope that this at least aimed you in the direction of finding what 
you want to know.

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 08:42 AM 10/13/2004 -0500, you wrote:
>Does anyone know what this sleeve is shaped like, how it is constructed, 
>or can you point me to other images where the garment is more clearly depicted?


Hi Dawn

I have been looking at images myself trying to get the accurate portrayal 
of the sleeves, as they are the part I was stuck on myself. Unfortunately, 
most images of Henry himself, he is looking at the viewer, so side details 
of the sleeves are impossible to judge.

There is an image of Henry sitting and playing a harp, with his fool Will 
Somers standing nearby that gives a slightly better image of the hanging 
sleeves.

It took to looking at images from outside of England to find the answer. 
There is a contemporary image of a French king having repast (Francis??), 
and he has several men around him in different poses (and angles). Many of 
those men are wearing similar great coats (as I call them) as is the King 
himself. It is from that image that I finally figured out what was going 
on. I only wish I could find that exact image right now to show you, but I 
can't seem to find the right book I found it in.

The great coat sleeves have a huge puff at the shoulders, and it is 
attached to a tube that hangs down. The tube is split several inches below 
the puff, allowing for the arm to go through at that point. This also 
allows the openings to hang down like two petals. The sleeves appear to be 
lined in fur, which is why the "puffs" are so big. Note that the sleeve fur 
does not have to match the collar fur, as the image of Henry with the fool 
shows two different colored furs.

If I can find the image, I will scan it in and post a link for you. But 
that will have to be later tonight, when I have time (and provided I find 
it today).


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Date: Wed, 13 Oct 2004 10:56:46 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 01:18 PM 10/13/2004 -0400, you wrote:
>My question regards the man in the background...
>
>The 'over-coat' he is wearing - is that a man's outfit or can ladies wear it??
>
>Kat


That is an image of Henry VII, and he is wearing garments of an earlier 
Tudor time than I have researched. However, when hasn't a woman taken men's 
garb and made it their own? I know, probably not a perfectly researched 
response...

Kimiko


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 01:12 PM 10/13/2004 -0400, you wrote:
>Of course, what I think I see may be influenced by the fact that I'm more
>familiar with academic regalia than with royal robes....If I'm way off, just
>ignore me!
>
>--Ruth Anne Baumgartner


Hey Ruth, I think you hit the nail squarely on the head. At least from what 
I have seen and researched so far.

Kimiko


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From h-costume-bounces@indra.com  Wed Oct 13 14:05:32 2004
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Subject: [h-cost] 1940s pants patterns?
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I just bought 3 lengths of worsted wool for some 1940s pants. (One of the
lengths is 'infected wool'--great term, Robin. For those of you who don't
know, Robin Netherton is a local hero for marking the fiber contents at one
of our best fabric stores CORRECTLY.) I'm going to be drafting the pants
with the help of an early 1940s pattern drafting manual, and finishing it
using techniques from a 1942 sewing manual.

But honestly, I'm just using these to get the look I want and to be sure I'm
using the best construction techniques; this isn't really meant to be
authentic. It's just a reaction to my recent frustration at trying to buy a
pair of pants I actually LIKE, that actually FIT. (The closest I could find
in stores or websites cost $299, and the waist band was poorly designed!
Gorgeous otherwise, though...) Hence the infected wool in the perfect color,
and hence this question: Has anyone found any patterns, modern, retro
modern, or vintage, that use good solid construction techniques, for those
nifty 1940s wide straight-legged trousers?

I'm getting the pattern pieces for the actual legs of the pants by drafting,
but there's no provision in the draft for waistband, pockets, etc, and I
don't have too much experience with making pants. It'd be helpful to have
something to look at for these details; something vaguely 1940s in flavor.
I know of a couple modern retro patterns--the Rosie the Riveter and the
Hollywood pants patterns from Folkwear--but I can't really see the details
from those, and I've never worked with their patterns before. (GBACG has no
reviews for them, either!) Also, they're $20 and I'd rather spend $0.99 at
JoAnns next sale! =}  I've also looked at some vintage 40s and 70s sewing
patterns on websites, but the level of detail of the photos is just too poor
to see any of the details I care about.

Any suggestions?

-E has WAY too many projects in the works right now.

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Hi,

I was just working on my website when I realised that I was having some 
problems.
Everywhere you see terms like Civil war, edwardian, victorian etc. But I 
realised that I'm not sure when exactly is which period.
Is there a timeline somewere on the net where I can find this?

Greetings,
       Deredere


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Subject: [h-cost] Re: Period Bird Embroidery 
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    There are lots of images of birds for the 18th century to be found on
bed hangings. There are a goodly number of images of these in Art of
Embroidery by Schuette and someoneorother. Have the book in my personal
collection. It's a rare book, but I believe can be had through ILO. There
are also several images in a wee Shire Book on beds or bed hangings; can't
quite remember the name.

    Hope that helps.

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 10:53 AM 10/13/2004 -0700, you wrote:
>It took to looking at images from outside of England to find the answer. 
>There is a contemporary image of a French king having repast (Francis??), 
>and he has several men around him in different poses (and angles). Many of 
>those men are wearing similar great coats (as I call them) as is the King 
>himself. It is from that image that I finally figured out what was going 
>on. I only wish I could find that exact image right now to show you, but I 
>can't seem to find the right book I found it in.


Well, I found an image, but not the color one I was thinking of. It is King 
Francis I, not having repast, but sitting behind a table while a book is 
being read to him. There is a monkey on the table, and you get a three 
views of the "great coats" (as I call
them), the book describes it further.
#1259 Last third XVIc. French. (Chantilly, Conde Mus., ms. fr. 1672
History by Diodorus of Sicily, translated by Macault.
(snipped)
"a gown similar to that worn by Henry VIII both with and without dependent 
sleeve; in the latter case, the puffed upper sleeve is horizontally cut and 
caught with aiglettes. As on the costume of Henry VIII, tiny puffs are 
drawn through apertures in the embroidery."

The book is _The Book of Costume_ by Millia Davenport. I have the 
one-volume edition (ISBN 0517037165), which I found on eBay.

I don't have the time to scan the image in today, but perhaps you can find 
it online.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell
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From: "Catherine Kinsey" <ckinsey@kumc.edu>
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Probably the best views I've seen of this are in a manuscript 
painting of Francois I and his court. <snip>

Kat
<<<<<<<<<<<<<<<<<<<<<<<<<<<<
could this be the one you are thinking of: 
http://www.marileecody.com/francis.jpg 
Doesn't give a variety of views, but there is the back view of the boys
in front.

I've attempted this sleeve once.  Just once :), with mixed results. 
Not a good pic, but you can see a bit of the hanging sleeve here: 
http://jmsphoto.net/KCRF2002/0000194_004.JPG
here is a bit better pic: 
http://jmsphoto.net/KCRF2002/0009685_019.JPG

It is pretty much, as has been mentioned here, a long tube added to a
puffed sleeve :).  I was deliberately avoiding the big over-puffed out
sleeves I had seen on to many renfair costumes, especially on this
greatcoat which was made out of a lighter fabric for warmer days.  These
are probably the 'flatest' sleeves of all DH's greatcoats.  Usually I
cut them out oversized and interlined with a stiff fabric to help hold
the shape out.  The actually lining was a closer fit to the actual
measurements of the upper arm (loose enough so as not to drag on the
doublet sleeve).  I eliminated the excess under the arm by using a
right-angle trick I found in one of Janet Arnold's Pattern of Fashion
books that was used for keeping excess fabric out of the way on the full
'ppoufy' upper hosen.  Don't have the book handy but if you are
interested I will double check the page/illo number.  Hanging tube was
attached to the back half of the puffed part of the sleeve.  The tube
was longer than a lower sleeve would have been, but large enough to be
worn if needed.

Hope this helps,
Catherine



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1940s pants patterns?
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On Wed, 13 Oct 2004, E House wrote:

> I just bought 3 lengths of worsted wool for some 1940s pants. (One of
> the lengths is 'infected wool'--great term, Robin. For those of you
> who don't know, Robin Netherton is a local hero for marking the fiber
> contents at one of our best fabric stores CORRECTLY.)

A losing battle, but I fight the good fight ;-) There's just so much that
comes in that I don't see in time... I keep bleach in the back room for
tests, and a marking pen in my pocket for scribbling "with lycra" on the
tags :-P  What's really frustrating is seeing MANUFACTURER tags on the
bolts that don't indicate lycra content.

> I'm getting the pattern pieces for the actual legs of the pants by
> drafting, but there's no provision in the draft for waistband,
> pockets, etc, and I don't have too much experience with making pants.
> It'd be helpful to have something to look at for these details;
> something vaguely 1940s in flavor. I know of a couple modern retro
> patterns--the Rosie the Riveter and the Hollywood pants patterns from
> Folkwear--but I can't really see the details from those, and I've
> never worked with their patterns before. (GBACG has no reviews for
> them, either!) Also, they're $20 and I'd rather spend $0.99 at JoAnns
> next sale! =} I've also looked at some vintage 40s and 70s sewing
> patterns on websites, but the level of detail of the photos is just
> too poor to see any of the details I care about.

When I was searching for a vintage c. 1962 style dress, I had a great deal
of luck on eBay. Many of the sellers give you good photos of both front
and back of the envelopes, and size measurements. Certain patterns come up
over and over, so it's worth looking at the pictures even for sizes that
aren't yours and making notes on the numbers of the patterns you like, so
you'll catch them when they do appear in your size.

Sizes changed massively over time -- a 14 today is definitely not a 14 in
a previous decade. In fact, I found that standard size guidelines changed
over the time window I was searching. I ended up making a cheat-sheet of
the size measurements for bust/waist/hips/etc. by year, so that I'd be
sure to buy the right size. If you can't get modern pants to fit well, you
might see if there's a period in which the "model" shape and measurements
match your own more closely, and then look for patterns from that
particular set of years.

Modern "retro" patterns will be sized to modern sizes, and won't help you
much with actual fit if you don't normally fit modern sizes without a lot
of alteration.

Someday when I get a box of round tuits to spare, I intend to nail down
exactly when in the 1930-1960 range my bust shape was in fashion, and buy
some vintage jacket and dress patterns that will thus fit my figure with
less trouble.

--Robin


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Subject: Re: [h-cost] Re: Period Bird Embroidery 
Date: Wed, 13 Oct 2004 21:09:46 +0200
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Hi again,
I also found one, in a book about indian embroidery. The pattern is with
parrots. This is not counted stitch or crossstiching but surface embroidery.
But those birds you are talking about here, are they not cross stitched
birds?
The book is called broderies indiennes, and the parrot pattern is based of
an old 18th century pattern.
Bjarne


----- Original Message ----- 
From: "Five Rivers" <lgsteph@wightman.ca>
To: <h-costume@indra.com>
Sent: Wednesday, October 13, 2004 8:45 PM
Subject: [h-cost] Re: Period Bird Embroidery


>     There are lots of images of birds for the 18th century to be found on
> bed hangings. There are a goodly number of images of these in Art of
> Embroidery by Schuette and someoneorother. Have the book in my personal
> collection. It's a rare book, but I believe can be had through ILO. There
> are also several images in a wee Shire Book on beds or bed hangings; can't
> quite remember the name.
>
>     Hope that helps.
>
> Regards
> Lorina
> Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
> fine hand-sewn embroidered garments, historical sewing patterns &
embroidery
> supplies
> (519) 799-5577, http://www.5rivers.org  email: info@5rivers.org
>
> _______________________________________________
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Date: Wed, 13 Oct 2004 12:10:12 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: Henry VIII and Tudor sleeves
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At 01:48 PM 10/13/2004 -0500, you wrote:
>could this be the one you are thinking of:
>http://www.marileecody.com/francis.jpg
>Doesn't give a variety of views, but there is the back view of the boys
>in front.
>
>I've attempted this sleeve once.  Just once :), with mixed results.
>Not a good pic, but you can see a bit of the hanging sleeve here:
>http://jmsphoto.net/KCRF2002/0000194_004.JPG
>here is a bit better pic:
>http://jmsphoto.net/KCRF2002/0009685_019.JPG


Hi Catherine,

That's the image! I just found my copy of the image in color in _Fashion, 
the Mirror of History_ by Michael and Ariane Betterberry (ISBN 0517388812).

I like your Henry outfit! Great job on such a problematic sleeve, 
especially for dealing with hot faires. I applaud the men who can wea that 
coat all day long, and not die of the heat.

My friend Michael stuffs his sleeves with netting to give it more poof with 
less weight. I will be inspecting his garments tonight to see how the inner 
construction goes. However, I think he does use the Simplicity pattern with 
tweaks. I will find out more tonight.

And a question for you. How did you do the pleats on the base (skirt)? I 
wasn't too happy with the amount of work I put in for my husband's pleats 
(done as sewn down organ pleats, held by tapes underneath), and wonder 
which other methods would work better.

Thanks,


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Subject: Re: [h-cost] 1940s pants patterns?
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In a message dated 10/13/2004 3:08:09 PM Eastern Standard Time, 
robin@shell.nightowl.net writes:
What's really frustrating is seeing MANUFACTURER tags on the
bolts that don't indicate lycra content.
Just curious as to how you know for sure it has Lycra spandex in it if the 
manufacturer doesn't say so--granted, you can tell it is stretchy.    

But, yes, I used to work at a fabric store where things weren't always 
labelled properly, if at all.  I once had to return some "silk" that was really, I 
suspect, rayon. It didn't dissolve in bleach and was probably cellulose. For 
those who don't know, U.S. federal law requires that fabrics for apparel be 
labelled with the fiber content, in order by weight, with the generic names of the 
fibers (hence, "Lycra" alone isn't even really sufficient--as that is the 
trade name for a form of spandex), and a care code.

Ann Wass  
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1940s pants patterns?
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On Wed, 13 Oct 2004 AnnBWass@aol.com wrote:

I wrote:
> What's really frustrating is seeing MANUFACTURER tags on the
> bolts that don't indicate lycra content.

Ann asked:
> Just curious as to how you know for sure it has Lycra spandex in it if the 
> manufacturer doesn't say so--granted, you can tell it is stretchy.    

The stretchiness is the big clue. If I want confirmation, I either pull
the fibers apart till I find a lycra strand, or I toss a swatch in bleach
and look for the rubber residue after a few hours. (The wool component
disappears without a trace.)

Wool has a little stretch of its own, of course, and I was fooled once by
a piece that was manufacturer-tagged as 100% wool. After I washed it, the
stretch was unmistakeable, and I could find the lycra fibers. Fortunately
my manager took it back.

Nearly all the wool (except coating) that's coming in from the
designer-level fabric makers this year has lycra. Sigh.

> But, yes, I used to work at a fabric store where things weren't always
> labelled properly, if at all.  I once had to return some "silk" that
> was really, I suspect, rayon. It didn't dissolve in bleach and was
> probably cellulose.

We had a load of "silk" a couple years ago that came from a silk
manufacturer that, I think, just used its standard tags. It burned as
plastic, but no one thought to test it for months, and meanwhile we'd been
selling it. At least a dozen bolts with different stripes and woven
patterns. I wish it had been silk!

> For those who don't know, U.S. federal law requires that fabrics for
> apparel be labelled with the fiber content, in order by weight, with
> the generic names of the fibers (hence, "Lycra" alone isn't even
> really sufficient--as that is the trade name for a form of spandex),
> and a care code.

HA ha ha ha ha.

We get a lot of our fabrics in designer-sample swatches of a few yards, or
unlabeled bolts, bulk-packed, often straight from Europe or from
god-knows-what warehouse in NYC. Or else from somewhere in Asia with
foreign-language tags.

--Robin

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Subject: Re: [h-cost] 1940s pants patterns?
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In a message dated 10/13/2004 3:59:05 PM Eastern Standard Time, 
robin@shell.nightowl.net writes:
We get a lot of our fabrics in designer-sample swatches of a few yards, or
unlabeled bolts, bulk-packed, often straight from Europe or from
god-knows-what warehouse in NYC. Or else from somewhere in Asia with
foreign-language tags.
Yup. And of course, around here, we have the independent fabric stores owned 
by a variety of ethnic groups who either don't know, or don't care, about the 
regs. If I go into one of these, I'm really on my toes, and I seldom buy 
something unless I have a pretty good idea of what it is (or it doesn't matter for 
a particular project).

Ann Wass
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Subject: Re: [h-cost] Linen weight and outer garments
Date: Wed, 13 Oct 2004 16:25:41 -0400
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> I would suggest the heavier 7.+ weight linen for an outer garment. I use
> the 5.3 oz for shirts and doublet linings. I use the 7+oz for interlinings
> of my husband's two noble doublets (with outer coverings in velvet). I do
> both major Tudor eras.

Depends what you want the outer garment to be. My T-tunic made of 7oz is way
too heavy. I prefer 5.3oz. For summer wear, I even go with 3.5 oz. Much,
much more comfortable, and it flows nicely too. But this is for T-tunics.
Something more structured will need linen heavier than 3.5 oz, unless it's
for a shirt. Regular linen, I'd go with 7oz, but if you're lucky enough to
find linen that isn't quite so loosely woven as what we're used to seeing (I
have some that is medium weight, so it's probably 5.3oz, but it behaves like
cotton because it isn't woven as loosely) you could do with lighter.

> I don't know anything about Normans.

Wouldn't wool be more appropriate than linen?
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Greetings all,

I am working on a paper for school and need help in dating a garment.  
It has been attributed to circa 680 France.  The cut of the garment 
suggests, to me, a much later date because of the complexity.  Am I off 
my rocker?  :D

I put an image at 
http://www.alfalfapress.com/MERO/Robe_TresorsDeChelleslorez.jpg
I haven't been able to find anything nearly as complicated in cut for 
several hundred years.  Am I missing something?  I'm happy to be wrong 
but I'd rather be right because it makes the paper more interesting.  :D

Thanks for any help!

Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy

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Subject: Re: [h-cost] 1940s pants patterns?
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> Yup. And of course, around here, we have the independent fabric stores
owned
> by a variety of ethnic groups who either don't know, or don't care, about
the
> regs. If I go into one of these, I'm really on my toes, and I seldom buy
> something unless I have a pretty good idea of what it is (or it doesn't
matter for
> a particular project).

That's why I'm having so much trouble buying in fabric stores. I keep
hearing about Montreal that there's a nice fabric district, but every time I
show up there, all I can see is row upon row of unlabelled bolts, and every
time I touch a bolt of "wool" or "linen" I go "but is it really?", so I
always come out empty handed. Even at Pennsic I didn't dare buy fabric at
some merchants' places, because I didn't know if they were reliable or not.
*sigh*
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Subject: [h-cost] Tudor Pleats
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And a question for you. How did you do the pleats on the base (skirt)? I

wasn't too happy with the amount of work I put in for my husband's
pleats 
(done as sewn down organ pleats, held by tapes underneath), and wonder

which other methods would work better.

Thanks,
Kimiko Small
>>>>>>>>>>>>>>>>>>>>>>>>>>>

Glad you liked the coat :).  He's survived warmer days in a fur collar
so for his last year as King I really wanted him to have something
cooler.

And I box pleated his bases, setting them w/ a steam iron.  They have
to get re-pressed periodically but all the fabrics we used held the
pleats pretty well, it didn't seem to matter if they were lined or not.

Catherine

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Althea Turner wrote:
> It has been attributed to circa 680 France.  The cut of the garment 
> suggests, to me, a much later date because of the complexity.  Am I off 
> my rocker?  :D
> 
> I put an image at 
> http://www.alfalfapress.com/MERO/Robe_TresorsDeChelleslorez.jpg

Wow.

Do I read that diagram to show a center front opening, with a 
standing-up-around-the-back collar down to mid-chest?  Maybe like a 
kimono collar?

I like all the godets, but the collar arrangement is very odd.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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> I am working on a paper for school and need help in dating a garment.
> It has been attributed to circa 680 France.  The cut of the garment
> suggests, to me, a much later date because of the complexity.  Am I off
> my rocker?  :D
>
> I put an image at
> http://www.alfalfapress.com/MERO/Robe_TresorsDeChelleslorez.jpg
> I haven't been able to find anything nearly as complicated in cut for
> several hundred years.  Am I missing something?  I'm happy to be wrong
> but I'd rather be right because it makes the paper more interesting.  :D

Keep in mind I'm not an expert while reading my answer. This is just
speculation based on the little knowledge I have.

I don't think the fact that construction is complex means that it's a later
garment. This seems to be all rectangles and triangles, and that's
consistent with early garments, no matter how complex they are. Complexity
in construction didn't evolve on a straight line from simple to complex.
Older garmets, if anything, seem to have even more gores than later ones.
I'm starting to think that our basic T-tunic wasn't as ubiquitous as we
often think it was...

This one doesn't look like anything I've seen so far, but we have enough
examples of 12th C onward to make me think it's at least earlier than 12th
century.

I wouldn't be surprised if the date you have is right. We know so little
about the clothing of the period, and what we've found is in fragments and
changes wildly from region to region. Every time we find a new piece, it
seems like something entirely new.

But without further info (where was it found, what was it found with, what's
the story) it's hard to make a guess!
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From: "Melanie Unruh-Bays" <MUnruh-Bays@wideorbit.com>
To: "Historical Costume" <h-costume@indra.com>
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If you're willing to piece those outer corners, I find that I can do a
kirtle on somewhat less than "shoulder-to-floor times four" by placing
the bodice pieces side-by-side and reversing the direction of the
pattern pieces. In other words, the pattern was laid out with the
bodices together in the center and the skirts on the outer cut edges of
the yardage. (Clear as mud??)=20
I had purchased eight yards of linen for the kirtle and decided to piece
in the corner bits. I used just over half of it - I have enough left for
a jaquette for my husband. This included sleeves and gores for me - a
largish lady - but not lining, and wouldn't work if the fabric has an
obvious direction or nap. Piecing's period, and it saved me $$$.=20

Melanie/Eirene

> -----Original Message-----
> From: h-costume-bounces@indra.com=20
> [mailto:h-costume-bounces@indra.com]On
> Behalf Of Teddy
> Sent: Wednesday, October 13, 2004 4:40 AM
> To: h-costume@indra.com
> Subject: RE: [h-cost] cotehardies and gothic dress yardages
>=20
>=20
> > > My "rule of thumb" for such things is hem to shoulder (plus seams
> and=20
> > > hem allowance) multiplied by four.
>=20
> > Shouldn't you add enough for sleeves as well?
>=20
> I usually get the sleeves and extra skirt gores from the fabric to the
> side of the bodice -part.
>=20
> Teddy
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>=20

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From h-costume-bounces@indra.com  Wed Oct 13 19:01:42 2004
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Date: Wed, 13 Oct 2004 15:58:18 -0700
Subject: Re: [h-cost] help in dating a garment - early medieval
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Greetings,
There is no center front seam, but the front neck piece is sewn in 
place like a gusset.  The collar does stand up and fold over like a 
cowl.
Althea

On Wednesday, October 13, 2004, at 02:41 PM, Cynthia Virtue wrote:

> Althea Turner wrote:
>> It has been attributed to circa 680 France.  The cut of the garment 
>> suggests, to me, a much later date because of the complexity.  Am I 
>> off my rocker?  :D
>> I put an image at 
>> http://www.alfalfapress.com/MERO/Robe_TresorsDeChelleslorez.jpg
>
> Wow.
>
> Do I read that diagram to show a center front opening, with a 
> standing-up-around-the-back collar down to mid-chest?  Maybe like a 
> kimono collar?
>
> I like all the godets, but the collar arrangement is very odd.
>
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
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Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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Date: Wed, 13 Oct 2004 16:03:15 -0700
Subject: Re: [h-cost] help in dating a garment - early medieval
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hello,
Maybe "complex" isn't the word I should have used.  :D  I just have 
never seen a neck/collar like the one on this garment.  I wish I could 
find my picture of the reconstructed garment.  It resembles garments 
that look more like later monk's robes with a cowl.  (Think Brother 
Cadfael.)

Althea

On Wednesday, October 13, 2004, at 03:17 PM, Audrey Bergeron-Morin 
wrote:

>> I am working on a paper for school and need help in dating a garment.
>> It has been attributed to circa 680 France.  The cut of the garment
>> suggests, to me, a much later date because of the complexity.  Am I 
>> off
>> my rocker?  :D
>>
>> I put an image at
>> http://www.alfalfapress.com/MERO/Robe_TresorsDeChelleslorez.jpg
>> I haven't been able to find anything nearly as complicated in cut for
>> several hundred years.  Am I missing something?  I'm happy to be wrong
>> but I'd rather be right because it makes the paper more interesting.  
>> :D
>
> Keep in mind I'm not an expert while reading my answer. This is just
> speculation based on the little knowledge I have.
>
> I don't think the fact that construction is complex means that it's a 
> later
> garment. This seems to be all rectangles and triangles, and that's
> consistent with early garments, no matter how complex they are. 
> Complexity
> in construction didn't evolve on a straight line from simple to 
> complex.
> Older garmets, if anything, seem to have even more gores than later 
> ones.
> I'm starting to think that our basic T-tunic wasn't as ubiquitous as we
> often think it was...
>
> This one doesn't look like anything I've seen so far, but we have 
> enough
> examples of 12th C onward to make me think it's at least earlier than 
> 12th
> century.
>
> I wouldn't be surprised if the date you have is right. We know so 
> little
> about the clothing of the period, and what we've found is in fragments 
> and
> changes wildly from region to region. Every time we find a new piece, 
> it
> seems like something entirely new.
>
> But without further info (where was it found, what was it found with, 
> what's
> the story) it's hard to make a guess!
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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From: "Joanna Hobbins" <joanna.hobbins@mail.mcgill.ca>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] help in dating a garment - early medieval
Date: Wed, 13 Oct 2004 19:27:37 -0400
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What book/journal did the image come from?  The only word I can make out at
the top is manteau (coat).  I always thought that this was a shirt
supposedly owned by Thomas Becket which would put it around 1160.

I think Marc Carlson has it on his site as the Chelles Shirt.

Cheers,

Joanna


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Audrey Bergeron-Morin
Sent: Wednesday, October 13, 2004 6:17 PM
To: Historical Costume
Subject: Re: [h-cost] help in dating a garment - early medieval


> I am working on a paper for school and need help in dating a garment. 
> It has been attributed to circa 680 France.  The cut of the garment 
> suggests, to me, a much later date because of the complexity.  Am I 
> off my rocker?  :D
>
> I put an image at 
> http://www.alfalfapress.com/MERO/Robe_TresorsDeChelleslorez.jpg
> I haven't been able to find anything nearly as complicated in cut for 
> several hundred years.  Am I missing something?  I'm happy to be wrong 
> but I'd rather be right because it makes the paper more interesting.  
> :D


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Subject: [h-cost] Victorian corset patterns
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Hi there,

I would like to find out if anyone has had experience with the
Mantua-Maker's 1870-1895 corset pattern?  Are there any better patterns out
there for this era?

Thanks,
Becky

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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Henry VIII and Tudor sleeves
Date: Thu, 14 Oct 2004 12:13:37 +1300
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> http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/02henry8.jpg
>
> There's something else going on with the sleeve, I can see part of it
> hanging behind his arm. I just can't make out what the sleeve is
> supposed to be shaped like.

It's almost certainly a regional variation of what's called the Schaube in
the Germanic lands. You may have some luck looking for images using that
term. I think a similar over garment was worn in Italy in the 15thC and a
similar style can be seen in early 16thC tapestries as well.

And in the Germanic areas, a schaube is indeed also a woman's garment:) I
made one of a different style:
http://costumes.glittersweet.com/sca/schaube.htm

And I see I need to edit my site a little...

Koehler has some patterns for schaubes (given more specific title according
to the actual use of the garment.) I think there are some online too....
http://www.pipcom.com/~tempus/landsknecht/patterns.html
unfortunately not the sleeve pattern. The quarter circle is the half back
the funny shaped one the half right indicating revers and the little piece
is the back of the collar.

I'll just check my pages in Koehler...
Nope.. sleeves are not there in my sections...

But you are right, he has put he sleeve through a slash of a hanging sleeve.
In fact it looks like thre are three openings, maybe two sets of sleeve?...
the top one is puffed though, you can see bu the direction of the applied
decoration, they angle in to the edge of the slash.

I think there may well be a regular length puffed sleeve that he has his arm
going through, then a pendant narrow purely decorative sleeve behind....

Unless someone can give a better explanation of the second lot of trim and
fur lining showing through at the left side of his surcoat? Double layer
gowns really do not show up in the artwork I've looked at. It would be
interesting to see if they have elsewhere;)

michaela de bruce
http://glittersweet.com


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From h-costume-bounces@indra.com  Wed Oct 13 19:51:46 2004
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Date: Wed, 13 Oct 2004 16:50:11 -0700
Subject: Re: [h-cost] Victorian corset patterns
From: Lynn Downward <ldownward@chori.org>
To: h costume <h-costume@indra.com>
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I've never used the Manuta-Maker's pattern.

Having said that, I absolutely love Laughing Moon Mercantile's Victorian
Corset pattern. I've made the fancier pattern because I have more to corset
than the average person and it's more comfortable than my underwire bra. It
went together easily (once I got over the shock of the many pattern pieces).
The instructions are clear and the historic pages are really in-depth. And a
ctue thing: every pattern you purchase from this company comes with its own
smiling moon charm to sew onto your garment or not.

An incredibly happy consumer; no other connection to the company.
LynnD

> From: <rreed@indirectobject.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Wed, 13 Oct 2004 16:40:27 -0700
> To: 'Historical Costume' <h-costume@indra.com>
> Subject: [h-cost] Victorian corset patterns
> 
> Hi there,
> 
> I would like to find out if anyone has had experience with the
> Mantua-Maker's 1870-1895 corset pattern?  Are there any better patterns out
> there for this era?
> 
> Thanks,
> Becky
> 
> _______________________________________________
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From h-costume-bounces@indra.com  Wed Oct 13 20:12:57 2004
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From: "Five Rivers" <lgsteph@wightman.ca>
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Subject: [h-cost] Re: Period Bird Embroidery
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Hi, Bjarne,

> But those birds you are talking about here, are they not cross stitched
> birds?

    (flips through books) Nope. All the embroideries I've looked at of bed
hangings, etc., for the 18th century, are crewel, meaning freeform
embroidery done in wool on a linen ground.

    Any of the garments I've found are silk thread in freeform embroidery.
Not a cross-stitched bird or apple or leaf in sight. :-)

> The book is called broderies indiennes, and the parrot pattern is based of
> an old 18th century pattern.

    Ah yes, broderies indiennes. It is actually upon the Eastern
embroideries (Indian, Chinese, Japanese) that much of the 18th century
European embroidery designs were based. Everything Eastern was all the rage
and considered quite exotic. That fascination with things Eastern seems to
have come into and out of fashion for hundreds of years.

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org

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Subject: Re: [h-cost] help in dating a garment - early medieval
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Status: RO

Here's a slightly better translation. Also, I've added the accents in the
French version and corrected some spelling mistakes. Maybe it can help
someone who knows more than I do about the clothing in that period.

> I La Grand robe
>
> Ce grand vętement a été découvert en 1983.  La finesse du tissu de lin
> confine ŕ la transparence.  Le devant semble avoir été ouvert jusqu'en
> bas. Il doit s'agir d'une robe de dessus, dont les deux pans devaient
> ętre serrés ŕ la taille par une ceinture. Contrairement aux vętements
> orientaux, pour la plupart tissés d'une pičce, il a été monté ŕ partir
> d'un patron complet.
>
> This large clothing was discovered in 1983. The fineness of the linen
> produces a great transparency. It seems the front was open to the
> bottom. It must have been an overdress, whose two sides were probably
> held at the waist with a belt. Contrary to Eastern  (oriental)
> clothing, that are usually woven of one single piece, it has been
assembled
> from a full pattern.
>
> Cette robe a été coupée dans une pičce de tissu de 6,80 m de long sur
> 0,85 m de large.  La partie principale de 3,38 m de long, forme ŕ la
> fois le devant et le dos.  Pliée au niveau des épaules, elle est fendue
> du haut en bas sur la face antérieure, et jusqu'au milieu du dos.
> L'ampleur du vętement est augmentée par des pičces triangulaires, qui en
> haut écartent les [deau] (deux?) bords du tissu principal et en bas, sont
posées
> de chaque côté. Le col ŕ larges revers est formé de quatre pičces. Les
> manches trčs amples au niveau de l'emmenchure (39 cm), sont plus serrées
au
> niveau du poignet (29 cm).
>
> This robe was cut in a piece of fabric 6,80 m long by 0,85 m
> wide. The 3,38 m long main part, forms at the same time the front
> and back. Folded on the shoulder, it is splint from top to bottom
> on the anterior face, and down to the middle of the back. The width of
> the garment is augmented by triangular gores, which, at the top, spread
the
> two edges of the main piece and, at the bottom, bottom, are fixed on each
> side. The collar with a large turnback is made of four parts.
> The sleeves, very full at the sleevehole (39 cm), are more narrow
> at the wrist (29 cm).
>
> Des manuscrits des VIII et IX sičcles montrent de rares exemples de
> vętements féminins d'un type voisin, ainsi l'Apocalypse de Valenciennes
> (IX sičcle) et le Psautier d'Augsbourg (Planche de massacre des
> Innocents)
>
> Manuscripts of the VIII and IX centuries show rare examples of
> feminine clothing of a similar style, see l'Apocalypse of
> Valenciennes (IX century) and the Psautier D'Augsbourg (Plane of massacre
> of the innocent)
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Subject: Re: [h-cost] help in dating a garment - early medieval
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This is the description, in French, and in my VERY bad translation (via 
babelfish and an old dictionary), of the Robe.

I La Grand robe

Ce grand vetement a ete decouvert en 1983.  La finesse du tissu de lin 
confine a la transparence.  Le devant semble avoir ete ouvert jusqu'en 
bas.  Il doit s'agir d'une robe de dessus, dont les deux pans devalient 
etre serres a la taille par une ceinture.  Contrairement aux vetements 
orientaux, pour la plupart tisses d'une piece, il a ete monte a partir 
d'un patron complete.

This large clothing has ete decouvert in 1983. The smoothness of flax 
cloth confines has the transparency. The front low seems to have ete 
opened jusqu'en. It must s'agir d'une dress of top, whose two sides 
devalient being greenhouses has the size by a belt. Contrary to Eastern 
clothing, for the majority weave d'une part, it has ete goes up has to 
leave d'un owner complete.

Cette robe a ete coupee dans une piece de tissu de 6,80 m de long sur 
0,85 m de large.  La partie principale de 3,38 m de long, forme a la 
fois le devant et le dos.  Pliee au niveau des epaules, elle est fendue 
du haut en bas sur la face anterieure, et jusqu'au milieu du dos.  
L'ampleur du vetement est aumentee par des pieces triangulaires, qui en 
haut ecartent les deau bords du tissu principal et en bas, sont posees 
de chaue cote.  Le col a larges revers est forme de quatre pieces.  Les 
manches tres amples au niveau de sleevehole (39 cm), sont plus tight au 
niveau du poignet (29 cm).

This dress has ete coupee in a fabric part 6,80 m length on 0,85 m 
broad. The 3,38 m length principal part, forms has the time the front 
and the back. Folded on the level of the shoulder, it is split top in 
bottom on the former face, and down to medium of the back. The width of 
clothing is augmented by triangular parts, which in top ecartent the 
two edges of principal fabric and in bottom, are posees of each 
dimension. The collar has broad reverses is the shape of four parts. 
The very full handles on the level of sleevehole (39 cm), are more 
tight on the level of the wrist (29 cm).

Des manuscrits des VIII et IX siecles montrent de rares exemples de 
vetements feminins d'un type voisin, ainsi l'Apocalypse de Valenciennes 
(IX siecle) et le Psautier d 'Augsbourg (Planche de massacre des 
Innocents)

Manuscripts of the VIII and IX centuries show to rare examples of 
clothing feminins d'un standard neighbor, thus l'Apocalypse of 
Valenciennes (IX century) and Psautier D 'Augsbourg (Board of massacre 
of the innocent)


Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy
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Date: Wed, 13 Oct 2004 18:51:05 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] help in dating a garment - early medieval
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At 2:08 PM -0700 10/13/04, Althea Turner wrote:
>Greetings all,
>
>I am working on a paper for school and need help in dating a 
>garment.  It has been attributed to circa 680 France.  The cut of 
>the garment suggests, to me, a much later date because of the 
>complexity.  Am I off my rocker?  :D
>
>I put an image at 
>http://www.alfalfapress.com/MERO/Robe_TresorsDeChelleslorez.jpg
>I haven't been able to find anything nearly as complicated in cut 
>for several hundred years.  Am I missing something?  I'm happy to be 
>wrong but I'd rather be right because it makes the paper more 
>interesting.  :D

The garment is preserved at the church (cathedral?) of Chelles in 
France as a relic of Saint (and queen) Bathilde who indeed has 7th 
century dates.  To the best of my knowledge the provenence is sound. 
The image at your link is from a French book about the various 
treasures preserved at this church, including discussions of various 
historical catalogs of the relics held there that help in tracing 
items across the centuries.  I don't know whether any scientific 
study has been made of the garment with regard to confirming the 
date, but the embroidered tunic held there also associated with Saint 
Bathilde  (see e.g., <http://www.kipar.demon.co.uk/bathilde.html>) 
makes a fairly solid case for the dating being correct based on a 
comparison of artistic styles and motifs used in the embroidery.

The book is:

Laporte, Jean-Pierre.  1988.  Le Tresor des Saints de Chelles. 
Societe Archeologique et Historique de Chelles, Ville de Chelles.

If you have access to ILL, there's a copy in the University of 
California system somewhere (not Berkeley -- I think it may have been 
at UCLA).

Both garments are quite unusual in the context of surviving garments 
from that general era ... but simply having survived makes them 
highly unusual in the first place.  You won't likely find anything 
nearly as complicated for several hundred years because you've find 
extremely little -- complicated or simple -- for several hundred 
years.  These are the sorts of garments that made me fall in love 
with researching surviving clothing -- you find stuff that you could 
never dream up by trying to reconstruct things from artwork.

When you get down to it, the robe is at heart a "rectangles and 
triangles" construction, with the only really peculiar part being the 
treatment of the small rectangle at the nape of the neck.  (The 
collar is somewhat surprising in its existence, but quite 
straightforward in construction.)

I've made up a couple of versions of this garment -- one of a 
gorgeous diamond twill black-and-white wool, done at a 75% scale of 
the original, and one with several modifications for a modern jacket 
made of sari silk.  (The original garment seems to have been of silk.)

Heather
-- 
****
Heather Rose Jones
heather.jones@earthlink.net
****
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Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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Re: > http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/02henry8.jpg

At 12:13 PM 10/14/2004 +1300, you wrote:
>But you are right, he has put he sleeve through a slash of a hanging sleeve.
>In fact it looks like thre are three openings, maybe two sets of sleeve?...
>the top one is puffed though, you can see bu the direction of the applied
>decoration, they angle in to the edge of the slash.
>
>I think there may well be a regular length puffed sleeve that he has his arm
>going through, then a pendant narrow purely decorative sleeve behind....
>
>Unless someone can give a better explanation of the second lot of trim and
>fur lining showing through at the left side of his surcoat? Double layer
>gowns really do not show up in the artwork I've looked at. It would be
>interesting to see if they have elsewhere;)
>
>michaela de bruce
>http://glittersweet.com


Hi Michaela,

Thanks so much for your insight on the schaube. I recall that garment now, 
although I have not researched it much, yet.

On the image of Henry, I am thinking that in this particular image, the 
sleeve tubes actually may have three possible openings. I have a better 
image in my book than what is online.
* The first opening is just under the big puff, where his arm wearing the 
doublet's sleeves, are coming from.
* The second is about where his wrist and hands could go though, if he put 
his arm completely in the sleeves. There appears to be a dark opening in 
the sleeve at that point, trimmed with more fur. I am not sure how much 
between the first two openings is actually slashed, but the angle of the 
trim, and the edge of it, indicate some part of the slashed area is hanging 
open, somehow.
* The third would be at the bottom of the very long sleeve, which is much 
longer than his actual arm length. However, there is no opening at all 
visible there, so it could be a closed sleeve at that point. Perhaps it is 
meant to either be purely decorative even when the full arm is in the 
sleeve, or hold things, or both?

And just to clarify, the doublet is apparently worn over the shirt. The 
sleeves are attached to the doublet, and often matches it. I do not know if 
there is anything worn between the shirt and doublet, because it doesn't 
apparently show. However, one of the authors I read (don't remember which) 
stated that there is a waistcoat worn over the chemise, and under the 
doublet. The U front vest with attached base is then worn over the doublet, 
with the great coat worn over all of that. I kept calling the vest and 
attached base as a doublet with base, and that is incorrect. However, I am 
not sure what to call the U front vest with attached base, so I guess I 
will be hitting my books yet again.

I look forward to more insight on this garment, as I am learning a lot from 
other's knowledge.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Linen weight and outer garments
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At 04:25 PM 10/13/2004 -0400, you wrote:
>Wouldn't wool be more appropriate than linen?


For an outer garment of the 1540s, in general, yes.

Kimiko


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Am I the only one who is getting 10+ copies of every message tonight, or 
has the list gone completely haywire?



Dawn
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Subject: Re: [h-cost] list madness?
Date: Wed, 13 Oct 2004 21:58:39 -0400
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I'm fine here. Once in a while it'll shoot two copies, but not tonight.
  
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 13, 2004 9:55 PM
Subject: [h-cost] list madness?


> Am I the only one who is getting 10+ copies of every message tonight, or 
> has the list gone completely haywire?
> 
> 
> 
> Dawn
> _______________________________________________
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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  Wed Oct 13 22:49:13 2004
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Organization: Medieval Hats: http://www.virtue.to
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Subject: [h-cost] Waistcoat vs. skirts 1661
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Another note from the serialized Pepys diary:

(Lords day). Did not stir out all day, but rose and dined below, and 
this day left off half skirts and put on a wastecoate, and my false taby 
wastecoate with gold lace;

(That's all there was about his outfit)

http://www.pepysdiary.com/archive/1661/10/13/index.php

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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From h-costume-bounces@indra.com  Wed Oct 13 22:56:42 2004
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From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
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Subject: [h-cost] OT: fairy wings
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Hi,
Probably not this year, but some time in the future I want to do Halloween
as a fairy. I know some people on this list also do fantasy costuming, so...
my problem is mostly with the wings and how to build them. I can't seem to
find details online, just sites to buy them already made. Anyone know of
good sources?
Thanks.

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From h-costume-bounces@indra.com  Wed Oct 13 23:26:15 2004
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] OT: fairy wings
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>From the archives of a different list:

for the wings, get some of those 16 gauge wire hoops, around the 12 in 
diameter ones, get 4 of them. stretch them with your hands into oval shapes, 
cover them with pantyhose. I colored my wings with hair sprays like the ones 
you get for Halloween for a glitter-shimmer effect.   Tie the wings together 
with simple clear thread, it holds quite nicely, and I used 1 in elastic to 
go around the arms.
-----------------------------
The last time I made Fairy Wings I used florist wire, because it is
already covered, and it is easy to work with.
I made casing around the edge of the wings, and in the *veining*, and
threaded it through there.
-----------------------------
http://www.fursuit.org/faq/17wings.htm
-----------------------------
a google search of dress diaries with fairy wings in them
-----------------------------

A common theme amongst most of the wing makers is that you really want to 
get wire that is already covered or that you can cover with tool dip or 
cloth.

       Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 13, 2004 9:55 PM
Subject: [h-cost] OT: fairy wings


: Hi,
: Probably not this year, but some time in the future I want to do Halloween
: as a fairy. I know some people on this list also do fantasy costuming, 
so...
: my problem is mostly with the wings and how to build them. I can't seem to
: find details online, just sites to buy them already made. Anyone know of
: good sources?
: Thanks.
:
: _______________________________________________
: 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 Oct 13 23:47:07 2004
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Do you want gossamer dragonfly wings? And how big? Y'know big wings can look 
really good. 
The wings I'm sure you can manage with sturdy wire and some gossamer fabric 
like Crystalette or a sheer, sparkly stretch fabric [easier to cover the frames 
with]. A fancy pair of hose can work great.

The harness to keep them on your back can be done like a back pack worn under 
the costume. If things get even moderately heavy, the wings will want to fall 
back. The arm straps must be tight but they won't do it alone. You have to 
have a strap in front anchored securely at the waist or even through the crotch 
like a parachute. Use strapping NOT ELASTIC....with those plastic clips that 
make the strap adjustable. You need something sturdy, not elastic that gives. 
But you only need all this harness stuff if the wings get a little heavy. [This 
is good stuff to remember for angel wings...Christmas is coming up, y'know.]
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Subject: Re: [h-cost] OT: fairy wings
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> http://www.fursuit.org/faq/17wings.htm

Aah, lots of options...

Thanks for the help.

I'll probably be going for something small and light, so there won't be much
need for a heavy-duty harness. But thanks for the advice anyway, it might
come in handy :-)
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Dawn,

I haven't been receiving multiple post of the same message.

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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At 12:47 AM 10/14/2004 -0400, you wrote:
>Dawn,
>
>I haven't been receiving multiple post of the same message.
>
>Penny E. Ladnier


I have gotten multiple posts here and there, but my problem usually is 
getting the replies a few days before getting the original post. Sometime 
not even the original post.

Kimiko


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I have also wanted a list of time periods, but have had trouble defining all
of them.  The problem I have found with naming time periods is that they can
be different in different countries.  For example, the Italian Renaissance
was a different period than the English. Also, the Civil War era pertains
only to American styles.

I did find some links that list other research resources for timelines:

http://www.costumes.org/history/100pages/costhistpage.htm
http://www.wordiq.com/definition/List_of_time_periods

If you come up with a timeline with all the different time periods listed, I
would love a copy!

Becky


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Deredere Galbraith
Sent: Wednesday, October 13, 2004 11:15 AM
To: Historical Costume
Subject: [h-cost] Time line problem

Hi,

I was just working on my website when I realised that I was having some 
problems.
Everywhere you see terms like Civil war, edwardian, victorian etc. But I 
realised that I'm not sure when exactly is which period.
Is there a timeline somewere on the net where I can find this?

Greetings,
       Deredere


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From h-costume-bounces@indra.com  Thu Oct 14 02:45:26 2004
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This webpage
http://www.bbc.co.uk/history/timelines/
has links to timelines for England, Scotland, Wales, and Northern Ireland,
from pre-history to present day, which have many links to increasing layers
of detail and pictures.

There are also timelines for Ancient Egypt and Rome, and a rather fun video
"Age of Treasures" timeline of archaeological finds, also with layers and
links.

And if you search on "Costume" there are a couple of children's games, where
you dress Tudor and Victorian ladies and gentlemen.

Have fun !
Linda Walton.

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Must be in the air. I just made a pair of the Rosie the Riveter slacks
from the Folkwear pattern. I made them out of *gasp* polyester
however. A dark brown with self design in the fabric. Now I did see
some pink "tweeds" at Joanne's the other night when I took my son to
buy fabric for school and I'm seriously thinking of going and getting
some to make more pants. The fabric had a very "Pretty in Pink" sort
of look to it.


On Wed, 13 Oct 2004 13:04:50 -0500, E House <formfunc@formfunction.org> wrote:
> I just bought 3 lengths of worsted wool for some 1940s pants.





-- 
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Subject: Re: [h-cost] list madness?
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> I have gotten multiple posts here and there, but my problem usually is
> getting the replies a few days before getting the original post. Sometime
> not even the original post.

That's what's been happening to me. On a few lists though. And at different
times. I wonder if there is some worm making its rounds and causing some
servers to delay mail?

Or somehting like that anyway.

I know I got your reply to me before I got my own email back!

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] OT: fairy wings
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http://www.deredere.dds.nl/Fantasy/Fairy/Fairy.html
At the bottom of the page there are some instruktions how I made my wings.

Greetings,
       Deredere

>  
>

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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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> I have made this coat, and I think, as you say, the top half  is a
very, 
> very large puff sleeve. I found cartridge pleats, with
wadding/batting 
> inside made them stand out. Then the bottom is a tube, attached to the
> back half of the puff only. The front of the tube is where the seam
comes,
> and is split down for 4-6 inches. There is a band round the front of
the puff, 
> and the top of the "tube" is finished and decorated on the 
> inside, so when it falls open in those small petals they look fancy.
Anyway, 
> that is how I  interpreted it

Hmmmm... That makes much more sense than my "third-part-to-the -sleeve"
interpretation.... I'd say go with Suzi's method.

Teddy
 
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Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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> Thanks so much for your insight on the schaube. I recall that garment now,
> although I have not researched it much, yet.

It's such a lovely garment to wear, easy to deal with and warm:)

> * The first opening is just under the big puff, where his arm wearing the
> doublet's sleeves, are coming from.
> * The second is about where his wrist and hands could go though, if he put
> his arm completely in the sleeves. There appears to be a dark opening in
> the sleeve at that point, trimmed with more fur. I am not sure how much
> between the first two openings is actually slashed, but the angle of the
> trim, and the edge of it, indicate some part of the slashed area is
hanging
> open, somehow.

It was this opening that stumped me, as online it looks like a flattened
opening, as in we can see the lining of the opposite side.
Ooooh I just found another version of this image, and I think I get what you
mean now.. The 2nd opening is like an upside down T. Perhaps more like an
anchor, as it seems to be curved...

The image is in the Master's of the German Art, Hans Holbein book. Page 106
if you have it. It might be in the Web Gallery of Art if it's in this
book...
http://gallery.euroweb.hu/html/h/holbein/hans_y/1535h/06henry8.html
Though my image isn't quite so cropped.

> * The third would be at the bottom of the very long sleeve, which is much
> longer than his actual arm length. However, there is no opening at all
> visible there, so it could be a closed sleeve at that point. Perhaps it is
> meant to either be purely decorative even when the full arm is in the
> sleeve, or hold things, or both?

I think so.. I just found an image in a book (that I have overdue from the
library.. eek;) ) and it shows a young boy in a hanging sleeve like this.
The end just tapers to a much narrower opening than a working sleeve would.
In the Henry image I do see fur poking out at the bottom of the sleeve.
Perhaps in your larger image it doesn't show thie?

> And just to clarify, the doublet is apparently worn over the shirt. The
> sleeves are attached to the doublet, and often matches it. I do not know
if
> there is anything worn between the shirt and doublet, because it doesn't
> apparently show. However, one of the authors I read (don't remember which)
> stated that there is a waistcoat worn over the chemise, and under the
> doublet. The U front vest with attached base is then worn over the
doublet,
> with the great coat worn over all of that. I kept calling the vest and
> attached base as a doublet with base, and that is incorrect. However, I am
> not sure what to call the U front vest with attached base, so I guess I
> will be hitting my books yet again.

There is a name for a skirted man's doublet type outfit in Spain.. but I
suspect it's a different kettle of fish...

I think Boucher (well the translation) uses the term waistcoat, which I
think is a loose translation of the French he would have used;) Camisole is
used to describe the heavy sleeved doublet worn under Spanish women's
dresses;) And you can't say it was a correct term:
      NOUN: 1. A woman's sleeveless undergarment, now usually worn under a
sheer blouse. 2. A short negligee.
      ETYMOLOGY: French (from Italian camiciola, diminutive of camicia,
shirt) or from Old Provençal camisolla, diminutive of camisa, shirt, both
from Late Latin


So if anything it's the shift....

It's all very interesting:)

michaela
http://costumes.glittersweet.com


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Subject: RE: [h-cost] Henry VIII and Tudor sleeves
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> I have the urge to make the outer 'coat' layer from Henry VIII's
famous 
> portrait by Holbein, and I spent some time last night looking up 
> pictures and comparing them to the pattern I have. Every time I have 
> seen this garment made it's been constructed with a short puffed
sleeve 
> gathered into a band above the elbow.

There are variations on on, the straight-forward version is the upper
puff and a straight lower sleeve, with the straight lower sleeve oly
connected to the puff at the back so it can be worn on the arm like a
full length sleeve OR be worn with the arm in the upper puff only and
the straight lower part hanging behind from above the elbow at the
back.... seen in your example here:
 
>
http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/6henry8.jpg

The more complicated version seen in your other too examples...

> http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/02henry8.jpg
> http://gallery.euroweb.hu/art/h/holbein/hans_y/1535h/06henry8.jpg

 ...has a third part to the sleeve - a shorter, possibly slightly flared
lower sleeve, split up the front and about long enough to cover from the
bottom of the puff to just below the elbow - this type of sleeve could
theoreticaly eb worn with just the upper puff on the arm, the upper puff
and the split short lower-sleeve (the arm would come out through the
spit when the elbow was bent) or with all three parts on the arm in
which case it would look like the middle (short/split) part was a
flared, split-fronted "cuff" on the upper puff, over the top of the
straight lower sleeve.

TRo complicate it fuurther, it looks liek the upper puff in th latter
two examples is *very* full and pleated/gathered nearly all the way
around instead of just around the outer part of the arm and flat under
the armpit area

That's my take on it at least - Hope this helps

Teddy


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From: "Five Rivers" <lgsteph@wightman.ca>
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Subject: [h-cost] Re: Victorian corset patterns
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    While I can recommend and do sell the Mantua-Maker's 1870-1895 corset
pattern, in my opinion the best Victorian through Edwardian corset pattern
on the market is the Laughing Moon Ladies Victorian Underwear set, which can
be viewed through our website.

    The pattern contains two corset variations, a chemise and drawers,
multi-sized 6-26 in one package. I have used this pattern for my own corset,
and was so impressed I now use it to teach my Victorian corset making class.
Simply one of the best patterns I've ever come across.

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org

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Date: Thu, 14 Oct 2004 11:10:46 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: [h-cost] Henry VIII and Tudor sleeves
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> And just to clarify, the doublet is apparently worn over the shirt.
The 
> sleeves are attached to the doublet, and often matches it. I do not
know if 
> there is anything worn between the shirt and doublet, because it
doesn't 
> apparently show. However, one of the authors I read (don't remember
> which) stated that there is a waistcoat worn over the chemise, and
under
> the doublet. The U front vest with attached base is then worn over the
> doublet, with the great coat worn over all of that. I kept calling the
vest and 
> attached base as a doublet with base, and that is incorrect. However,
I am 
> not sure what to call the U front vest with attached base, so I guess
I 
> will be hitting my books yet again.

As far as I'm aware, the average layering would be

- Shirt
- Doublet (possibly with skirts depending on style) with attached
sleeves 
- Jerkin (in this case U-fronted) (Could be sleeveless, short-sleeved or
have complete sleeves of its own)with bases
- Surcote.

Naturally, he would have his braes, tunk-hose and lower-hose on his
lower half...<g>

Teddy

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Date: Thu, 14 Oct 2004 11:18:15 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: RE: [h-cost] Time line problem
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> Also, the Civil War era pertains only to American styles.

No! - The AMERICAN Civil War era pertains only to American styles -
other countries had Civil War eras of their own (like the ENGLISH Civil
War era which is 17th century... Typically, however, websites and books
by americans refer to "THE" Civil War, meaning the American one because,
*of course* it's the American one so there's no need to qualify it by
stating the country or actual period.

Sorry, pet-peeve of mine.

Teddy
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Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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>
>
>As far as I'm aware, the average layering would be
>
>- Shirt
>- Doublet (possibly with skirts depending on style) with attached
>sleeves
>- Jerkin (in this case U-fronted) (Could be sleeveless, short-sleeved or
>have complete sleeves of its own)with bases
>- Surcote.
>
>Naturally, he would have his braes, tunk-hose and lower-hose on his
>lower half...<g>


I found that the doublet with attached sleeves needed a skirt so it did not 
ride up when he raised his arms. I also made the bases from a pair of half 
circle, but felt that there needed to be more material in them for 
cartridge pleats, and would probably make it 3/4 circles if I had to make 
another.

Suzi


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Mine, too, and I'm an American!

I had a project due in my Photoshop class involving a pivotal point in
history--I chose the American Civil War. I used images that Matthew
Brady took and created a montage. It was titled "The American Civil
War". During a peer review, the most often stated issue with my work
was the title. Most felt that I didn't need "American". I did point
out to them that we were not the only country to have had a civil war!

kate

----- Original Message ----- 
From: "Teddy" <Teddy@mdx.ac.uk>
To: <h-costume@indra.com>
Sent: Thursday, October 14, 2004 6:18 AM
Subject: RE: [h-cost] Time line problem


>
> > Also, the Civil War era pertains only to American styles.
>
> No! - The AMERICAN Civil War era pertains only to American styles -
> other countries had Civil War eras of their own (like the ENGLISH
Civil
> War era which is 17th century... Typically, however, websites and
books
> by americans refer to "THE" Civil War, meaning the American one
because,
> *of course* it's the American one so there's no need to qualify it
by
> stating the country or actual period.
>
> Sorry, pet-peeve of mine.
>
> Teddy
> _______________________________________________
> 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 Oct 14 09:51:22 2004
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It must be you, dearie, or your server, because I'm only getting one 
copy of each message, and no duplicates.
--sue

Dawn wrote:

> Am I the only one who is getting 10+ copies of every message tonight, or 
> has the list gone completely haywire?
> 


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From h-costume-bounces@indra.com  Thu Oct 14 10:56:55 2004
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Subject: [h-cost] Italian Renn c.1532
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Status: RO

Hello, everyone. I mostly just lurk here, but Ive got a project Ive been 
wanting to get at for a while.  I have a lot of questions about it, and I 
was hoping I could get some answers here.

Its from a Bronzino portrait dated to about 1532 Florence. Here is a link: 
http://homepage.mac.com/festive_attyre/research/secondflor/secflor31.html

Im sure its familiar to at least some of the people who post/read here. 
Does anyone know anything about the woman whos simply named as A daughter 
of Matteo Sofferoni? Im curious about her  theres something very modern 
about her face and expression. Also, I have a friend who could be her 
double! In fact, its for this friend that I want to attempt to recreate 
this dress.

Has anyone made this? If so, Id really appreciate any input you can give me.

Now, all my questions about the dress. I find the blackwork chemise/camica 
unusual. I dont think they were very common in Italy at that time (could 
she have lived in England for a time? Perhaps her father was a merchant and 
she went with him on his travels? Or perhaps he was an ambassador?)  The 
construction on the chemise looks fairly simple. My feeling is the bands of 
blackwork were done separately and then the body of the chemise attached. 
Does anyone have any patterns, or sources for patterns that would help me 
recreate the pattern on the outside of the collar? The rest look fairly 
simple, but any suggestion for how to piece the thing together would be 
very welcome. Also, any suggestions for the pattern at the wrist ruffle 
would be welcome. I just cant make out what that pattern is.

Next, the gown. Ive pretty much convinced myself the material is wool. 
With the lack of sheen and the way it hangs, I just dont see how it can be 
a silk or satin, or anything else. The guards and sleeve trim (are those 
also called guards?) I think are satin, and I cant decide if theyre the 
same material as the lower sleeves (I hope not, because I have this really 
exquisite remnant of very expensive duchesse satin thats just the right 
color, but theres only enough for the lower sleeves. not the guards). 
Also, any ideas as to what the trim right at the neckline is? It almost 
looks like gold links, but I dont think its metal, it sits too smoothly 
to be metal (besides, I dont think this woman would have worn a necklace 
of gold links around the neck of her gown. Too ostentatious).  Another 
question about the sleeve decoration. It appears to be three vertical 
strips of satin at the front of the sleeve. Could there be another set of 
three strips at the back of the sleeve? And as for the lower sleeves, Im 
kind of at a loss for how to create them. Satin thatsslashed? With 
slashes that big, how do keep them from fraying? And is that the (very 
full) sleeve of the chemise you can see bunched up under/inside the lower 
sleeves?

How would you go about constructing the bodice? Would you do a separate 
corset or build a corset into the lining of the bodice? There has to be 
some kind of stiffening; the front of the bodice is too flat and smooth for 
there not to be.  And is that a separate belt or just a shadow in the 
painting? If its a belt, not sure its the same material as the gown. It 
almost looks like it could be a strip of velvet. As for the skirt, am I 
correct in assuming there would be two rows of trim to match the guards on 
the bodice, somewhere below knee length?

As for the headdress, it looks like a fairly simple round cap with a flat 
crown and a sort of roll decorating the join between the sides of the cap 
and the crown. But heres something that has me stumped. What is that just 
about behind where her left ear would be? IS that her ear? Or part of the 
headdress?

Thanks for all your help,
Julie


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Italian Renn c.1532
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At 07:55 14/10/2004 -0700, you wrote:
>Hello, everyone. I mostly just lurk here, but I've got a project I've been 
>wanting to get at for a while.  I have a lot of questions about it, and I 
>was hoping I could get some answers here.
>
>It's from a Bronzino portrait dated to about 1532 Florence. Here is a 
>link: http://homepage.mac.com/festive_attyre/research/secondflor/secflor31.html
>
>I'm sure it's familiar to at least some of the people who post/read here. 
>Does anyone know anything about the woman who's simply named as "A 
>daughter of Matteo Sofferoni"? I'm curious about her  there's something 
>very modern about her face and expression. Also, I have a friend who could 
>be her double! In fact, it's for this friend that I want to attempt to 
>recreate this dress.
>
>Has anyone made this? If so, I'd really appreciate any input you can give me.


I have just made a version of this dress, in dark green velvet with silk 
bands for decoration. I did not make the shift, and I made very simple 
undersleeves. I think the original may well have been in silk velvet, which 
does not have a high sheen - I have some real antique silk velvet, maybe 70 
years old, and it does not shine like modern velvet. I have also seen the 
original painting, which is in the Royal Collection at Hampton Court, and I 
would have thought it was velvet from what I remember - it was nearly 23 
years ago!!


I stiffened the bodice, using the pattern from Jean Hunnisett's book, 
Period Costume for Stage and Screen, 1500-1800, pattern for "Tudor Bodice", 
but I laced it down the back. I made separate undersleeves, and a large 
puff sleeve, gathering it about 4" from the edge to make the frill. I lined 
the puff sleeve completely with net and the silk from the bands, and sewed 
a channel where the gathers cane for a drawstring. I piped the edge of the 
bodice instead of using pickadils, for lack of time. There is definitely a 
belt on the original. I made a very simple pleated skirt, again partly 
through lack of time, and partly because the customer wanted a fairly 
"plain" (!) dress. I can send you a photo if you would like, but cannot 
post a link to it yet.

The hat I made by covering a simple oval shape in spartra - do you have 
that? I padded it with some mull, or fine batting, then a flat piece of 
velvet on the tip  and a layer of velvet cut on the cross round the sides. 
Then I covered the whole of it with fine gold mesh as I could not find any 
material similar to the painting.  I made a lining which covered the huge 
stitches inside. I twisted some gold cord and green velvet ribbon to make 
the halo effect.

That turned out longer than I meant - sorry, but hope it helped. If I can 
help some more do say.

Suzi


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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] list madness?
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> > I have gotten multiple posts here and there, but my problem usually
is 
> > getting the replies a few days before getting the original post. 
> > Sometime not even the original post.
> 
> That's what's been happening to me. On a few lists though. 
> And at different times. I wonder if there is some worm making 
> its rounds and causing some servers to delay mail?
> 
> Or somehting like that anyway.
> 
> I know I got your reply to me before I got my own email back!

Perhaps some of them are taking the "pretty route".. I realize that's no
help but it's what occured to me - I have a mental image of the messages
taking the long way 'round and stopping to look at the scenery on the
way....<g>

Teddy


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Date: Thu, 14 Oct 2004 16:46:14 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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> >As far as I'm aware, the average layering would be
> >
> >- Shirt
> >- Doublet (possibly with skirts depending on style) with attached 
> >sleeves
> >- Jerkin (in this case U-fronted) (Could be sleeveless, short-sleeved

> >or have complete sleeves of its own)with bases
> >- Surcote.

> I found that the doublet with attached sleeves needed a skirt  so it
did not 
> ride up when he raised his arms.

His hose should be pointed to it around the waist (to hold them up) -
that would prevent it (the doublet) from riding up

> I also made the bases from a pair of half 
> circle, but felt that there needed to be more material in them for 
> cartridge pleats, and would probably make it 3/4 circles if I 
> had to make another.

I'd agree with you there - I found full circle bases very "skimped"
looking and would use at least a three-quarter circle or more where
possible.

Teddy
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Subject: Re: [h-cost] Italian Renn c.1532
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In a message dated 10/14/2004 11:29:18 AM Eastern Standard Time, 
suzi@suziclarke.co.uk writes:

> http://homepage.mac.com/festive_attyre/research/secondflor/secflor31.html
> 

What a beautiful portrait!

I think it's velvet too but one could get away with a fine wool.

Suzi, how did you cut the sleeves? They look to me to be a wide cylinder 
cartridge pleated into the armseye and then draped and pinned [tacked] up to the 
undersleeve. 
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Sorry, didn't mean to ruffle any feathers.  The only reason I stated that
was because in my research, the Civil War era clothing that I've seen is all
American -- kind of like how all Elizabethan clothing is assumed to be
English.

I did some research last night because this interests me and found this
information so far:

Ancient Egyptian 3300 BC-30 BC
Ancient Roman 30BC - 476 CE
Byzantine 330 - 1453
Dark Ages 400-1000
Early Gothic 1000-1200
Medieval Europe 1200-1450
Italian Renaissance 1420-1600 
Tudor 
 - Henry VII 1485-1509
 - Henry VIII 1509-1547
 - Edward VI 1547-1553
 - Marian 1553-1558
 - Elizabethan 1558-1603
Jacobean 1603-1625
Baroque 1620-1750
Georgian 1720-1812
American Colonial 1492-1775
American Revolution 1775-1800
Neo Classical Period 1800-1825
Regency 1812-1830
Empire 1820-1840
American Civil War Era 1861-1865
Victorian Era 1837-1901
Edwardian Era 1901-1919

Anyone who has different info on dates, or different/more time periods, etc.
please fill in.  Hope this is helping whoever posted the original question.

Becky

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Teddy
Sent: Thursday, October 14, 2004 3:18 AM
To: h-costume@indra.com
Subject: RE: [h-cost] Time line problem


> Also, the Civil War era pertains only to American styles.

No! - The AMERICAN Civil War era pertains only to American styles -
other countries had Civil War eras of their own (like the ENGLISH Civil
War era which is 17th century... Typically, however, websites and books
by americans refer to "THE" Civil War, meaning the American one because,
*of course* it's the American one so there's no need to qualify it by
stating the country or actual period.

Sorry, pet-peeve of mine.

Teddy
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Sue Clemenger wrote:
> It must be you, dearie, or your server, because I'm only getting one 
> copy of each message, and no duplicates.
> --sue


Thanks Sue, and everyone else who responded. My mailserver seems to be 
hiccuping, I got over 200 duplicate copies of messages last night, and 
it's begun again this morning...



Dawn

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Sorry, I goofed when I said Elizabethan era -- meant to say Victorian era
was assumed to be only English.  Must have stay ed up too late working on
this...  Again, not intended to sound "American" or upset anyone.

Becky

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How about splitting the Dark ages into 

Merovingian 500-751
Carolingian 751-843
Ottonian 900-1002
 
Cheers,

Joanna

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of rreed@indirectobject.com
Sent: Thursday, October 14, 2004 11:54 AM
To: 'Historical Costume'
Subject: RE: [h-cost] Time line problem


Sorry, didn't mean to ruffle any feathers.  The only reason I stated that
was because in my research, the Civil War era clothing that I've seen is all
American -- kind of like how all Elizabethan clothing is assumed to be
English.

I did some research last night because this interests me and found this
information so far:

Ancient Egyptian 3300 BC-30 BC
Ancient Roman 30BC - 476 CE
Byzantine 330 - 1453
Dark Ages 400-1000
Early Gothic 1000-1200
Medieval Europe 1200-1450
Italian Renaissance 1420-1600 
Tudor 
 - Henry VII 1485-1509
 - Henry VIII 1509-1547
 - Edward VI 1547-1553
 - Marian 1553-1558
 - Elizabethan 1558-1603
Jacobean 1603-1625
Baroque 1620-1750
Georgian 1720-1812
American Colonial 1492-1775
American Revolution 1775-1800
Neo Classical Period 1800-1825
Regency 1812-1830
Empire 1820-1840
American Civil War Era 1861-1865
Victorian Era 1837-1901
Edwardian Era 1901-1919

Anyone who has different info on dates, or different/more time periods, etc.
please fill in.  Hope this is helping whoever posted the original question.

Becky



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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 16:46 14/10/2004 +0100, you wrote:

> > >As far as I'm aware, the average layering would be
> > >
> > >- Shirt
> > >- Doublet (possibly with skirts depending on style) with attached
> > >sleeves
> > >- Jerkin (in this case U-fronted) (Could be sleeveless, short-sleeved
>
> > >or have complete sleeves of its own)with bases
> > >- Surcote.
>
> > I found that the doublet with attached sleeves needed a skirt  so it
>did not
> > ride up when he raised his arms.
>
>His hose should be pointed to it around the waist (to hold them up) -
>that would prevent it (the doublet) from riding up

I do know what *should* be, but you try telling that to a customer who is 
having problem getting hose in the first place. In fact the portrait seems 
to indicate stockings rolled over a garter, rather than full length hose. 
He also wanted the trunk hose to fasten with a cod piece and with points, 
but not to the doublet, as he was doing a lot of archery demonstrations, 
and found the "laced-up" thing rather restricting, especially with the big 
coat as well as everything else!!

Me, I just do what I'm paid for, after giving advice, naturally <g>

Suzi


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Subject: RE: [h-cost] Time line problem
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>
>
>
>Ancient Egyptian 3300 BC-30 BC
>Ancient Roman 30BC - 476 CE
>Byzantine 330 - 1453
>Dark Ages 400-1000
>Early Gothic 1000-1200
>Medieval Europe 1200-1450
>Italian Renaissance 1420-1600
>Tudor
>  - Henry VII 1485-1509
>  - Henry VIII 1509-1547
>  - Edward VI 1547-1553
>  - Marian 1553-1558
>  - Elizabethan 1558-1603
>Jacobean 1603-1625
>Baroque 1620-1750
>Georgian 1720-1812
>American Colonial 1492-1775
>American Revolution 1775-1800
>Neo Classical Period 1800-1825
>Regency 1812-1830
>Empire 1820-1840
>American Civil War Era 1861-1865
>Victorian Era 1837-1901
>Edwardian Era 1901-1919
>
>Anyone who has different info on dates, or different/more time periods, etc.
>please fill in.  Hope this is helping whoever posted the original question.
>
>Becky


Small cavil

Georgian is 1720 - 1830.
Regency is 1810 - 1820.

Four Georges, George lV dying in 1830, was Regent from 1810 to when he 
became King in 1820.

Sorry, a pet peeve of mine!! and it's only *technical* anyway - Regency 
style in England lingered through William lV.

Suzi


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At 11:44 14/10/2004 -0400, you wrote:
>In a message dated 10/14/2004 11:29:18 AM Eastern Standard Time,
>suzi@suziclarke.co.uk writes:
>
> > http://homepage.mac.com/festive_attyre/research/secondflor/secflor31.html
> >
>
>What a beautiful portrait!
>
>I think it's velvet too but one could get away with a fine wool.
>
>Suzi, how did you cut the sleeves? They look to me to be a wide cylinder
>cartridge pleated into the armseye and then draped and pinned [tacked] up 
>to the
>undersleeve.


I have a pattern for a sleeve from a book I wrote for children and just 
enlarged it. It isn't exactly a tube, as it has a slight curve at the top, 
and is slightly cut down under the arms, where you don't pleat 'cos it is 
more comfortable. The drawstring 4" from the bottom was tight enough to 
keep the sleeve in place at the elbow. That in turn made the puff fold and 
crumple. This dress was made in a great hurry, so no time for fiddling, but 
that seemed to work perfectly well. I was taught, "If the simple way works, 
why complicate things?!"
.


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Just a tiny bit of pedantry, if I may - Giving specific dates is a useful 
generalization, but leads to the unusual risk of being misleading.  Say you 
have the Guacamole era 2234-2456 and the Fripperian 2457-4310 -- this 
implies that a) people in the Guacamole wore the same thing for the entire 
period, and b) that someone in 2456 and 2457 would be wearing garments that 
were completely different.

Marc

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     Well, of course, Marc!  Everyone else in the world put away their
20thC clothes and bought a whole new wardrobe at the turn of the 21st
C.  Didn't you?  :-)

     -Carol

> Just a tiny bit of pedantry, if I may - Giving specific dates is a useful
> generalization, but leads to the unusual risk of being misleading.  Say
> you have the Guacamole era 2234-2456 and the Fripperian 2457-4310
> -- this implies that a) people in the Guacamole wore the same thing for
> the entire period, and b) that someone in 2456 and 2457 would be
> wearing garments that were completely different.
>
> Marc

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In a message dated 10/14/2004 12:47:02 PM Eastern Standard Time, 
suzi@suziclarke.co.uk writes:

> I was taught, "If the simple way works, 
> why complicate things?!"
> 

Indeed. I agree.

The straps are almost off the shoulder [like so many in this period] so I 
would think that there need not be too much of a sleeve head but I think I might 
put one too....and of course not gather under the arm.

It also appears there might be a gathering point mid way down the sleeve as 
well as the one above the hem so you get the 2 poufs. And the gathering seems 
to be tighter at the point of the bands of trim rather than even all the way 
around. I'm sure you would've tweaked things like that had you had time.

I always think in terms of theatre or film where you want things secure and 
the same and fresh night after night. I would tack the gatherings to an 
undersleeve....probably in such a way as to be able to let it down for better 
steaming and pressing.

This makes me want to make a Renn. gown. Something I haven't done for 
decades.
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Wow.  I can't tell you how helpful this is.  I've got a list running and am adding to it as folks post revisions/additions.

I was aware that the English civil war is a different time than the U.S. but of course I only know the years for the U.S.  <G>

What are some other important periods to include here?
Thanks all
Julie
> 
> Ancient Egyptian 3300 BC-30 BC
> Ancient Roman 30BC - 476 CE
> Byzantine 330 - 1453
> Dark Ages 400-1000
> Early Gothic 1000-1200
> Medieval Europe 1200-1450
> Italian Renaissance 1420-1600 
> Tudor 
>  - Henry VII 1485-1509
>  - Henry VIII 1509-1547
>  - Edward VI 1547-1553
>  - Marian 1553-1558
>  - Elizabethan 1558-1603
> Jacobean 1603-1625
> Baroque 1620-1750
> Georgian 1720-1812
> American Colonial 1492-1775
> American Revolution 1775-1800
> Neo Classical Period 1800-1825
> Regency 1812-1830
> Empire 1820-1840
> American Civil War Era 1861-1865
> Victorian Era 1837-1901
> Edwardian Era 1901-1919
> 
> Anyone who has different info on dates, or different/more time periods, etc.
> please fill in.  Hope this is helping whoever posted the original question.
> 
> Becky

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 I think then the way I have era's divided would drive people mad.
Can't please everyone however and everyone has their own ideas on how
the eras should be divided up.
http://snipurl.com/96f1 Dress Diaries

B.
> Small cavil
> 
> Georgian is 1720 - 1830.
> Regency is 1810 - 1820.
> 
> Four Georges, George lV dying in 1830, was Regent from 1810 to when he
> became King in 1820.
> 
> Sorry, a pet peeve of mine!! and it's only *technical* anyway - Regency
> style in England lingered through William lV.
> 
> Suzi
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Julie wrote:

> 
>>American Colonial 1492-1775
>>American Revolution 1775-1800
>>Neo Classical Period 1800-1825
>>Regency 1812-1830
>>Empire 1820-1840

I would throw "antebellum" into this hole as pre-ACW, I see that word 
used a lot for this period.

>>American Civil War Era 1861-1865
>>Victorian Era 1837-1901
>>Edwardian Era 1901-1919



Dawn


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In a message dated 10/14/2004 12:47:52 PM Eastern Standard Time, 
suzi@suziclarke.co.uk writes:
Regency 1812-1830
>Empire 1820-1840
>American Civil War Era 1861-1865
And that is sticky, because, strictly speaking, the English regency ended in 
1820 (21?)  And there was the French Regency in the 18th century. Also, the 
French Empire was, of course, 1804-1815, even though the Empire style in 
decorative arts is later.

Not real simple, is it?

Ann Wass
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From: Frank and Tracy Thallas <hardcorps@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Italian Renn c.1532
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  Hello the list!
    Lured out of Lurkmode by a blackwork question....<G>
    I love this portrait!  I'll leave the gown to the outerwear experts.  I've been gathering blackwork portraits
for awhile now; while blackwork camisas (camisae?) are not unusual in Italy around this time, the particular style this lady wears  is a little different.  Most I've found in Italy are the low-cut (think Raphael's "La Muta") variety.
Perhaps this lady is showing us a transitional style?
  If this link works:
http://www.wga.hu/html/b/bronzino/2/index.html
it should give you a page containing your painting, and a couple of others in which the same style of camisa is
shown - look at "Portrait of Laura Battiferri" (doesn't she have the most wonderful nose?) and "Portrait of a Lady with a Puppy".  These are about 20 years after your portrait, and the blackwork decoration has been replaced with some sort of raised? whitework.
   On the construction of the camisa itself, I have never been able to replicate the look of "gather" at the neck
without raglan seams - what works best for me is  the old "4-yard-shirt" they used to teach to Renn Faire newbies.
I would work the collar separately and attach during construction, but the little geometric pattern on the shirt front
can be worked on the whole cloth, as can the little pattern (this is really too small to work out, sigh - I'd choose a
small, relatively simple floral meander from a good pattern book) at the wrists.  I have never been able to decide if these sleeves are gathered by cuffs of some sort or if they are loose..

  Oh, and my 2 cents on the neckline trim - I don't know the right word for it, but could it be folds of fabric/ribbon
caught in the seam like piping?  Does that make ANY sense? <G>


  Hope this is a tiny bit of help.......
Liadain

-----Original Message-----
From: Kiloran@worldnet.att.net
Sent: Oct 14, 2004 7:55 AM
To: h-costume@indra.com
Subject: [h-cost] Italian Renn c.1532

Hello, everyone. I mostly just lurk here, but Ive got a project Ive been 
wanting to get at for a while.  I have a lot of questions about it, and I 
was hoping I could get some answers here.

Its from a Bronzino portrait dated to about 1532 Florence. Here is a link: 
http://homepage.mac.com/festive_attyre/research/secondflor/secflor31.html

<snip>
Now, all my questions about the dress. I find the blackwork chemise/camica 
unusual. I dont think they were very common in Italy at that time (could 
she have lived in England for a time? Perhaps her father was a merchant and 
she went with him on his travels? Or perhaps he was an ambassador?)  The 
construction on the chemise looks fairly simple. My feeling is the bands of 
blackwork were done separately and then the body of the chemise attached. 
Does anyone have any patterns, or sources for patterns that would help me 
recreate the pattern on the outside of the collar? The rest look fairly 
simple, but any suggestion for how to piece the thing together would be 
very welcome. Also, any suggestions for the pattern at the wrist ruffle 
would be welcome. I just cant make out what that pattern is.

Next, the gown. Ive pretty much convinced myself the material is wool. 
With the lack of sheen and the way it hangs, I just dont see how it can be 
a silk or satin, or anything else. The guards and sleeve trim (are those 
also called guards?) I think are satin, and I cant decide if theyre the 
same material as the lower sleeves (I hope not, because I have this really 
exquisite remnant of very expensive duchesse satin thats just the right 
color, but theres only enough for the lower sleeves. not the guards). 
Also, any ideas as to what the trim right at the neckline is? It almost 
looks like gold links, but I dont think its metal, it sits too smoothly 
to be metal (besides, I dont think this woman would have worn a necklace 
of gold links around the neck of her gown. Too ostentatious).  Another 
question about the sleeve decoration. It appears to be three vertical 
strips of satin at the front of the sleeve. Could there be another set of 
three strips at the back of the sleeve? And as for the lower sleeves, Im 
kind of at a loss for how to create them. Satin thatsslashed? With 
slashes that big, how do keep them from fraying? And is that the (very 
full) sleeve of the chemise you can see bunched up under/inside the lower 
sleeves?

<snip>
Thanks for all your help,
Julie


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Time line problem
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> Regency 1812-1830
> >Empire 1820-1840
> >American Civil War Era 1861-1865
> And that is sticky, because, strictly speaking, the English regency ended
in
> 1820 (21?)  And there was the French Regency in the 18th century. Also,
the
> French Empire was, of course, 1804-1815, even though the Empire style in
> decorative arts is later.
>
> Not real simple, is it?

Ah, so I was right, in some way at least. I didn't dare bring it up because
I'm not good enough with timelines :-) but to me Empire is somewhere around
1800-1820, because when I think of Empire dresses I see Josephine-style
dresses, and that's around those years.

But even in literature classes, my teachers didn't dare put a definite date
on time periods. We talked mostly about currents, or whatever you call them
usually. In clothing, I guess you would call that a fashion style.
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Subject: Re: [h-cost] Italian Renn c.1532
Date: Thu, 14 Oct 2004 17:36:36 -0400
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Status: RO

I'm thinking that the gold around the neck is a corded binding that's
been slashed at measured intervals. But that's just my $ .02.

kate

----- Original Message ----- 
From: "Frank and Tracy Thallas" <hardcorps@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 14, 2004 5:12 PM
Subject: Re: [h-cost] Italian Renn c.1532


>   Hello the list!
>     Lured out of Lurkmode by a blackwork question....<G>
>     I love this portrait!  I'll leave the gown to the outerwear
experts.  I've been gathering blackwork portraits
> for awhile now; while blackwork camisas (camisae?) are not unusual
in Italy around this time, the particular style this lady wears  is a
little different.  Most I've found in Italy are the low-cut (think
Raphael's "La Muta") variety.
> Perhaps this lady is showing us a transitional style?
>   If this link works:
> http://www.wga.hu/html/b/bronzino/2/index.html
> it should give you a page containing your painting, and a couple of
others in which the same style of camisa is
> shown - look at "Portrait of Laura Battiferri" (doesn't she have the
most wonderful nose?) and "Portrait of a Lady with a Puppy".  These
are about 20 years after your portrait, and the blackwork decoration
has been replaced with some sort of raised? whitework.
>    On the construction of the camisa itself, I have never been able
to replicate the look of "gather" at the neck
> without raglan seams - what works best for me is  the old
"4-yard-shirt" they used to teach to Renn Faire newbies.
> I would work the collar separately and attach during construction,
but the little geometric pattern on the shirt front
> can be worked on the whole cloth, as can the little pattern (this is
really too small to work out, sigh - I'd choose a
> small, relatively simple floral meander from a good pattern book) at
the wrists.  I have never been able to decide if these sleeves are
gathered by cuffs of some sort or if they are loose..
>
>   Oh, and my 2 cents on the neckline trim - I don't know the right
word for it, but could it be folds of fabric/ribbon
> caught in the seam like piping?  Does that make ANY sense? <G>
>
>
>   Hope this is a tiny bit of help.......
> Liadain
>
> -----Original Message-----
> From: Kiloran@worldnet.att.net
> Sent: Oct 14, 2004 7:55 AM
> To: h-costume@indra.com
> Subject: [h-cost] Italian Renn c.1532
>
> Hello, everyone. I mostly just lurk here, but I've got a project
I've been
> wanting to get at for a while.  I have a lot of questions about it,
and I
> was hoping I could get some answers here.
>
> It's from a Bronzino portrait dated to about 1532 Florence. Here is
a link:
>
http://homepage.mac.com/festive_attyre/research/secondflor/secflor31.html
>
> <snip>
> Now, all my questions about the dress. I find the blackwork
chemise/camica
> unusual. I don't think they were very common in Italy at that time
(could
> she have lived in England for a time? Perhaps her father was a
merchant and
> she went with him on his travels? Or perhaps he was an ambassador?)
The
> construction on the chemise looks fairly simple. My feeling is the
bands of
> blackwork were done separately and then the body of the chemise
attached.
> Does anyone have any patterns, or sources for patterns that would
help me
> recreate the pattern on the outside of the collar? The rest look
fairly
> simple, but any suggestion for how to piece the thing together would
be
> very welcome. Also, any suggestions for the pattern at the wrist
ruffle
> would be welcome. I just can't make out what that pattern is.
>
> Next, the gown. I've pretty much convinced myself the material is
wool.
> With the lack of sheen and the way it hangs, I just don't see how it
can be
> a silk or satin, or anything else. The guards and sleeve trim (are
those
> also called guards?) I think are satin, and I can't decide if
they're the
> same material as the lower sleeves (I hope not, because I have this
really
> exquisite remnant of very expensive duchesse satin that's just the
right
> color, but there's only enough for the lower sleeves. not the
guards).
> Also, any ideas as to what the trim right at the neckline is? It
almost
> looks like gold links, but I don't think it's metal, it sits too
smoothly
> to be metal (besides, I don't think this woman would have worn a
necklace
> of gold links around the neck of her gown. Too ostentatious).
Another
> question about the sleeve decoration. It appears to be three
vertical
> strips of satin at the front of the sleeve. Could there be another
set of
> three strips at the back of the sleeve? And as for the lower
sleeves, I'm
> kind of at a loss for how to create them. Satin that's.slashed? With
> slashes that big, how do keep them from fraying? And is that the
(very
> full) sleeve of the chemise you can see bunched up under/inside the
lower
> sleeves?
>
> <snip>
> Thanks for all your help,
> Julie
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
> _______________________________________________
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>


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Subject: Re: [h-cost] Italian Renn c.1532 (bodice edging)
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I am sure that one of you folks that knows more about this can more  
accurately describe the little *thingies* around the neck, but I believe that  they 
are a form of picadil which consists of a narrow strip of fabric that is  folded 
over and sandwiched between the fashion fabric and the lining,  with  a small 
loop extending from the edge of the garment.  A cord, or even  tightly rolled 
strip of fabric would be pulled through the loops.  I have  seen portraits 
where the strip of fabric is slightly puffed out between the  picadils, but of 
course don't have any concrete references at this moment.  
 
Suzi also posted :  "I piped the edge of the bodice instead of using  
pickadils."  This would also be an option.
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Date: Thu, 14 Oct 2004 23:04:49 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Italian Renn c.1532 (bodice edging)
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At 17:46 14/10/2004 -0400, you wrote:
I am sure that one of you folks that knows more about this can more
accurately describe the little *thingies* around the neck, but I believe 
that  they
are a form of picadil which consists of a narrow strip of fabric that 
is  folded
over and sandwiched between the fashion fabric and the lining,  with  a small
loop extending from the edge of the garment.  A cord, or even  tightly rolled
strip of fabric would be pulled through the loops.  I have  seen portraits
where the strip of fabric is slightly puffed out between the  picadils, but of
course don't have any concrete references at this moment.

Suzi also posted :  "I piped the edge of the bodice instead of using
pickadils."  This would also be an option.


This kind of edging can be seen on many portraits of Queen Elizabeth l, in 
particular the "Phoenix" portrait, where it is very clear. I know it is 
later, and in England, but according to Janet Arnold,  the Queen wore gowns 
from all over. I think I have seen it somewhere else, but cannot off hand 
remember where. The description posted above by Chindora just about covers 
it perfectly.

Suzi


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Italian Renn c.1532 (bodice edging)
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Status: RO

  Ah HAH!  Pickadil is the word my poor tired brain wouldn't cough up...<G>

Liadain

-----Original Message-----
From: Chindora@aol.com
Sent: Oct 14, 2004 2:46 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Italian Renn c.1532 (bodice edging)

I am sure that one of you folks that knows more about this can more  
accurately describe the little *thingies* around the neck, but I believe that  they 
are a form of picadil which consists of a narrow strip of fabric that is  folded 
over and sandwiched between the fashion fabric and the lining,  with  a small 
loop extending from the edge of the garment.  A cord, or even  tightly rolled 
strip of fabric would be pulled through the loops.  I have  seen portraits 
where the strip of fabric is slightly puffed out between the  picadils, but of 
course don't have any concrete references at this moment.  
 
Suzi also posted :  "I piped the edge of the bodice instead of using  
pickadils."  This would also be an option.
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Subject: [h-cost] Dyeing of the wool ;-)
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Good evening, 

     Recently I bought a bit of wool flannel for a gown. It appeared on the monitor to be a lovely Deep brown (like pumpernickle bread?) Instead it's more of a semi sweet chocolate. I'd like to either try to dye a darker brown or perhaps a near navy. Question: How badly will this shrink my wool? How about an appropriate dye. I really am kicking myself for not realizing "monitor colors may vary."

Thank you, Again 

        Angelique


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> How badly will this shrink my wool?

There's really no way to know before you try dyeing a swatch. And even then,
you might end up with surprises when you dye the real one.

> How about an appropriate dye.

Hm... I'm no expert dyer, but if I were looking for some wool dye, I'd go to
http://www.dharmatrading.com/

Good luck!
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Melanie wrote:

> If you're willing to piece those outer corners, I find that I can do a
> kirtle on somewhat less than "shoulder-to-floor times four" by placing
> the bodice pieces side-by-side and reversing the direction of the
> pattern pieces. In other words, the pattern was laid out with the
> bodices together in the center and the skirts on the outer cut edges of
> the yardage. (Clear as mud??)
> I had purchased eight yards of linen for the kirtle and decided to piece
> in the corner bits. I used just over half of it - I have enough left for
> a jaquette for my husband. This included sleeves and gores for me - a
> largish lady - but not lining, and wouldn't work if the fabric has an
> obvious direction or nap. Piecing's period, and it saved me $$$.

Actually, an obvious direction may not be a problem. I remember several
discussions on this list about pictures of or extant medieval brocade
garments that had been pieced together with NO regard to matching the
pattern. Upside down pieces, etc. Anyone else remember these? Anyway, seeing
that I can't cite any references, I can't say for sure. But I'm willing to
bet there is plenty of precedence.

Gail Finke

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Subject: [h-cost] New(ish) Tudor/Elizabethan webpage 
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Hi everyone,
I've launched a webpage on my costuming efforts (I set it up about a month
ago but I just realised I hadn't advertised it here), I haven't got a lot of
information there at the moment, just one page on my own costumes plus an
analysis of the Simplicity Shakespeare in Love pattern. Well here it is
http://au.geocities.com/e_walpole/ comments and critiques are most welcome.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] TimeLine
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Julie wrote:

>>American Colonial 1492-1775
>>American Revolution 1775-1800
>>Neo Classical Period 1800-1825

Federalist is the period in American history from the
mid 1780's to , maybe 1820-30's.

Has some rough correspondence to:
1) the English late Georgian and Regency (by another
George), and 
2) the French Revolution, Directoire, and Empire.


Ann in CT


		
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As Teddy pointed out, "Civil War" is a vaguely defined historical
period - it could be English, American, etc. It's also worth noting
that the same time period in different countries might have yielded
very different styles (I'm thinking, say, 1520's northern Italy vs.
1520s England, for example).

The listings seem to be very England/American biased - and I'm an
American! How do other folks slice it up?

Allison T.
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> Actually, an obvious direction may not be a problem. I remember several
> discussions on this list about pictures of or extant medieval brocade
> garments that had been pieced together with NO regard to matching the
> pattern. Upside down pieces, etc. Anyone else remember these? Anyway,
seeing
> that I can't cite any references, I can't say for sure. But I'm willing to
> bet there is plenty of precedence.

I remember seeing numerous examples of this. I think I've seen more examples
of mismatched patterns than matched patterns! Don't ask where, though... I
don't collect them, they're just things I happened to notice when browsing
for other things.
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Subject: [h-cost] a list of extant clothing (pre-Renn)
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Greetings all,

Working on this paper I began to wonder if there is a list of extant 
archaeological clothing any where.  It would be groovy to be able to 
compare with other existing garments. I found a couple web sites that 
are very good, but know the list isn't exhaustive.  I bet that if we 
pooled our knowledge we could come up with a fairly comprehensive list. 
  I would be willing to compile it and to put on my web site so people 
can download it.

Anyone interested?  If so contact me privately and we can work on a 
format to normalize the submissions.

Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy

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Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 11:10 AM 10/14/2004 +0100, you wrote:
>- Jerkin (in this case U-fronted) (Could be sleeveless, short-sleeved or
>have complete sleeves of its own)with bases


Ah, so that's a jerkin in this time period. More familiar with jerkins in 
Elizabethan styles. Thanks for the clarification of terms.

Kimiko


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Date: Thu, 14 Oct 2004 20:32:01 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 10:31 PM 10/14/2004 +1300, you wrote:
>Ooooh I just found another version of this image, and I think I get what you
>mean now.. The 2nd opening is like an upside down T. Perhaps more like an
>anchor, as it seems to be curved...

Yes, that's the opening. I may scan this image and detail the section so 
people can see it better. I already have plans on scanning a lot more 
images, I just have other costume stuff I have to do first for November, so 
image scanning in general will be the winter project.

>The image is in the Master's of the German Art, Hans Holbein book. Page 106
>if you have it. It might be in the Web Gallery of Art if it's in this
>book...
>http://gallery.euroweb.hu/html/h/holbein/hans_y/1535h/06henry8.html
>Though my image isn't quite so cropped.

I have the book, and it has the same opening as the red velvet great coat 
image of Henry. Same dimple in the sleeve puff as well.

And in the same book is the portrait of Charles de Solier, Lord of Morette, 
#95 on page 103. It's another front on shot, but you can make out some 
possible sleeve openings, as defined by the fur lines.

>I think so.. I just found an image in a book (that I have overdue from the
>library.. eek;) ) and it shows a young boy in a hanging sleeve like this.

Which young boy would that be an image of? Is it Edward? If so, which image 
of him? My book has several.

>The end just tapers to a much narrower opening than a working sleeve would.
>In the Henry image I do see fur poking out at the bottom of the sleeve.
>Perhaps in your larger image it doesn't show thie?

Looking closely I see fur at the edge of both the sleeve and the hem of the 
great coat. However not seeing an actual opening, I am not sure if there is 
an opening or not. My friend who plays Henry wasn't too clear when I spoke 
with him last night. He loves to create his wonderful costumes, but he 
isn't into speculation on portraits as I can be.

>There is a name for a skirted man's doublet type outfit in Spain.. but I
>suspect it's a different kettle of fish...

Is that the cassock? That is what Alcega calls it, but that's later in the 
century.

>I think Boucher (well the translation) uses the term waistcoat, which I
>think is a loose translation of the French he would have used;) Camisole is
>used to describe the heavy sleeved doublet worn under Spanish women's
>dresses;) And you can't say it was a correct term:
>       NOUN: 1. A woman's sleeveless undergarment, now usually worn under a
>sheer blouse. 2. A short negligee.
>       ETYMOLOGY: French (from Italian camiciola, diminutive of camicia,
>shirt) or from Old Provençal camisolla, diminutive of camisa, shirt, both
>from Late Latin

Hmmmm.... camicia, which I understand is that big flowing italian chemise, yes?

>So if anything it's the shift....
>
>It's all very interesting:)
>
>michaela
>http://costumes.glittersweet.com

Very interesting indeed. Thank you.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 11:10 AM 10/14/2004 +0100, you wrote:
>Naturally, he would have his braes, tunk-hose and lower-hose on his
>lower half...<g>
>
>Teddy


Hi Teddy,

I know I have heard of braes before, but I am not picturing this in my 
mind, at least with regards to Tudor wear. Trunk hose and lower hose, that 
I understand.

So, would you mind describing braes in this context for me, please?

Thank you.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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At 11:23 AM 10/14/2004 +0100, you wrote:
>I found that the doublet with attached sleeves needed a skirt so it did 
>not ride up when he raised his arms. I also made the bases from a pair of 
>half circle, but felt that there needed to be more material in them for 
>cartridge pleats, and would probably make it 3/4 circles if I had to make 
>another.
>
>Suzi


Hi Suzi

I created my husband's base from the two pairs of half circles, but I 
followed another person's directions for what she called "organ pleats", 
which are not the same as cartridge pleats as I know them (Norris noting 
otherwise). I did them as an experiment in how this type of pleats would 
look using a non-wool base.

Basically the organ pleats are sewn in pleats, with darts radiating from 
the center at about 3/8" down the length of the pleat, and they are taped 
beneath to hold out the puff of the pleat. There is evidence of this in an 
image of an extant base that I have a photo of (don't recall which book). I 
had learned this technique from a person who did German waffenrocks, and it 
does seem to match closer the look of the bases that Henry wears, even the 
image of his fool appears to be in a base with this type of pleat. It is 
very clear with Holbein's different works that this is a similar treatment 
to the German's garments. To clarify, the pleats appear to be narrower at 
the waist, and radiate out at the hem (which appears wider). Cartridge 
pleats don't give the same effect, and box pleats give a similar effect 
(maybe even better), but they are the same width at the waist and at the hem.

But it is a pain in the behind in terms of time and accuracy. If I did this 
again, I would stiffen the velvet base itself with either cotton batting or 
hair canvas or something to give more puff. The original is noted as having 
been quilted as well, but I took that to mean the flat portions that have 
the obvious quilt lines. I think when done in heavy wool, as the waffenrock 
was done, the pleats are firmer in its position.

However, I think I will try box pleating on the circle or gored skirt to 
see if the effect is closer to the portraits I have.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] a list of extant clothing (pre-Renn)
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On Thu, 14 Oct 2004, Althea Turner wrote:

> Working on this paper I began to wonder if there is a list of extant
> archaeological clothing any where.  It would be groovy to be able to
> compare with other existing garments. I found a couple web sites that
> are very good, but know the list isn't exhaustive.  I bet that if we
> pooled our knowledge we could come up with a fairly comprehensive
> list.

Heather Rose Jones, on this list, will probably have something to say
here. She's been working on such a list for quite some years now, focusing
on (IIRC) pre-1600 garments. The project has ended up rather larger than
she anticipated when she started, but I'll let her tell you about that ;-)

--Robin

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Date: Thu, 14 Oct 2004 23:17:14 -0700
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Subject: Re: [h-cost] a list of extant clothing (pre-Renn)
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At 9:17 PM -0700 10/14/04, Althea Turner wrote:
>Greetings all,
>
>Working on this paper I began to wonder if there is a list of extant 
>archaeological clothing any where.  It would be groovy to be able to 
>compare with other existing garments. I found a couple web sites 
>that are very good, but know the list isn't exhaustive.  I bet that 
>if we pooled our knowledge we could come up with a fairly 
>comprehensive list.  I would be willing to compile it and to put on 
>my web site so people can download it.
>
>Anyone interested?  If so contact me privately and we can work on a 
>format to normalize the submissions.

I've been working on exactly this topic for the last 20 years.  My 
list is not only not yet comprehensive ... I'm still finding new 
stuff faster than I can hunt down the references and catalog them. 
My primary coverage only goes up to 1500, although I include a few 
later pieces that are of personal interest for one reason or another. 
(My earliest material is from the Iceman.)

Currently my database contains 865 entries, although this doesn't 
precisely correspond to the number of distinct garments included 
since some records cover multiple garments.  (My standard joke is 
that I've cataloged 2000 garments but 1000 of them are King Tut's 
loincloths.  This isn't true of course -- only about 250 of them are 
King Tut's loincloths.)

I've also chosen not to cover ecclesiastical vestments exhaustively. 
Since I'm primarily interested in evidence for garment construction, 
I hit my limit in how many semi-circular copes I really cared to keep 
track of.  I also suspect that it's unrealistic to try to cover 
Coptic tunics exhaustively since everybody and his brother seems to 
have a few in their private museum.

I _know_ that my list isn't comprehensive, because I keep regularly 
finding not simply individual garments but entire categories of 
garments that I hadn't included previously.

I working on getting the database in shape for interactive web access 
-- both for people who want to search for things and so that people 
can check to see whether I've included something they know about (and 
tell me if I don't).  I've finally done the smart thing and hired 
someone to help me set up the site, but at the moment my own time is 
being taken up by a book project that landed in my lap a month ago. 
(Baby names ... why did it have to be baby names?)

Heather
-- 
****
Heather Rose Jones
heather.jones@earthlink.net
****
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Subject: Re: [h-cost] a list of extant clothing (pre-Renn)
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Ok, I'm not going to ask about the loin cloths.  :D  I know there will 
be great interest in this when you do get it out there.  One of the 
greatest challenges in working on this paper has been finding garments 
with which to compare the Bathilde and Bertille garments.  I still am 
looking for comparable garments, but then I've only been working on the 
topic for a few months.  Having a database like yours will be wonderful.

Thank you!
Althea


On Thursday, October 14, 2004, at 11:17 PM, Heather Rose Jones wrote:

> I've been working on exactly this topic for the last 20 years.  My 
> list is not only not yet comprehensive ... I'm still finding new stuff 
> faster than I can hunt down the references and catalog them. My 
> primary coverage only goes up to 1500, although I include a few later 
> pieces that are of personal interest for one reason or another. (My 
> earliest material is from the Iceman.)
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy

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Hi, You asked:The listings seem to be very England/American biased - and I'm
an
American! How do other folks slice it up?

Here in Denmark we split it up like this:

Ancient Egypt: 3000-500
Ancient Greece: 700-150
Etruskian Period: 1000-300
Rome 700BC-476
Byzantine: 300-1450
Roman Medieval 800-1200
Gothic Medieval 1200-1480
Italian Renaissance: 1480-1510
German Renaissance: 1510-1550
Spanish Renaissance: 1550-1600
Baroque: 1620-1715
Rčgence: 1715-1730
Rococo: 1730-1770
Louix XVI: 1770-1795
Directoire: 1795-1804
Empire: 1800-1820
Biedermeier: 1820-1835
New Rococo: 1835-1870
Style Mixing Period: 1870-1890
Jugendstyle: 1890-1910
Funktionalism: 1920-1940
Our time: 1940-

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Yes, we run into the problem of whether to talk about strict historical
periods or stylistic ones. The Regent became King in 1820 but the most
conspicuous change in fashion didn't come till the 1830s.
I, too, think of "Empire line" dresses as synonymous with Regency, but
of course there was another French empire under Napoleon III (1860s?)
The "English" Civil Wars (a convenient term, though they also involved
Wales and Scotland) happened off and on between 1642 and 1651.
There's also "Restoration" , 1660- ? (Charles II died 1685; perhaps
Nicole can tell us when the next major stylistic change took place?)

Kate Bunting
Library, University of Derby

>>> audreybmorin2@hotmail.com 14/10/2004 21:21:38 >>>
> Regency 1812-1830
> >Empire 1820-1840
> >American Civil War Era 1861-1865
> And that is sticky, because, strictly speaking, the English regency
ended
in
> 1820 (21?)  And there was the French Regency in the 18th century.
Also,
the
> French Empire was, of course, 1804-1815, even though the Empire style
in
> decorative arts is later.
>
> Not real simple, is it?

Ah, so I was right, in some way at least. I didn't dare bring it up
because
I'm not good enough with timelines :-) but to me Empire is somewhere
around
1800-1820, because when I think of Empire dresses I see
Josephine-style
dresses, and that's around those years.

But even in literature classes, my teachers didn't dare put a definite
date
on time periods. We talked mostly about currents, or whatever you call
them
usually. In clothing, I guess you would call that a fashion style.
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Bjarne og Leif Drews wrote:
> Jugendstyle: 1890-1910

Could you give us a literal-into-English translation of this term?

> Our time: 1940-

But that's 64 years, now!  :)  Post-60s fashion is quite a different 
thing than earlier.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

(8.) The "independent and non-partisan" Commission on Presidential 
Debates is neither independent nor non-partisan.  Walter Cronkite called 
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-----Original Message-----
From: Cynthia Virtue [mailto:cvirtue+dated+1113389313.87fd26@thibault.org] 
Sent: 15 October 2004 11:52
To: Historical Costume
Subject: Re: [h-cost] timelines

>Bjarne og Leif Drews wrote:
>> Jugendstyle: 1890-1910
>
>Could you give us a literal-into-English translation of this term?


Jugend is German for 'youth'. I believe the equivalent term in English is
Art Nouveau. 

/Lena



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I slice it along the lines with which I'm most familiar.  Being a 
modestly-educated, primarily english-speaking american, that means a 
wierd mix of English and American histories, with odd tangential bits 
from other cultures, so that it's sort of a "hairy" time line, with the 
hairs being, ferinstance, a permanent mental note that the Florentines 
were doing X in 1520 while the English were doing Y, and the ....
I like to use history and costume to reinforce each other (oh, look, 
french influence in italian clothes....oh, that's right, that's after 
the invasion....or "anglo" styles in the english-speaking pale around 
historical Dublin, or whatever).
--sue "what the hey, it works for me <g>" clemenger

A. Thurman wrote:

> As Teddy pointed out, "Civil War" is a vaguely defined historical
> period - it could be English, American, etc. It's also worth noting
> that the same time period in different countries might have yielded
> very different styles (I'm thinking, say, 1520's northern Italy vs.
> 1520s England, for example).
> 
> The listings seem to be very England/American biased - and I'm an
> American! How do other folks slice it up?
> 
> Allison T.


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Subject: Re: [h-cost] a list of extant clothing (pre-Renn)
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I'd strongly recommend Marc Carlson's website, if you haven't found it 
already.  I don't recall that he does much with non-European-based 
cultures, if you wanted a world-wide list, but it is pretty darned good! 
Especially since you can then add in "known" bits like 
liturgical/ecclesiastical garments that show up in other sources.
--sue

Althea Turner wrote:

> Greetings all,
> 
> Working on this paper I began to wonder if there is a list of extant 
> archaeological clothing any where.  It would be groovy to be able to 
> compare with other existing garments. I found a couple web sites that 
> are very good, but know the list isn't exhaustive.  I bet that if we 
> pooled our knowledge we could come up with a fairly comprehensive list. 
>  I would be willing to compile it and to put on my web site so people 
> can download it.
> 
> Anyone interested?  If so contact me privately and we can work on a 
> format to normalize the submissions.
> 
> Althea Turner
> *** althea@alfalfapress.com
> *** http://www.alfalfapress.com
> 
> I think, therefore I'm dangerous.
> 
> I'll be Post-Feminist in a Post-Patriarchy
> 
> _______________________________________________
> h-costume mailing list
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Yeah, but are they at least *Welsh* baby names? <evil grin>
--sue

Heather Rose Jones wrote:


> I working on getting the database in shape for interactive web access -- 
> both for people who want to search for things and so that people can 
> check to see whether I've included something they know about (and tell 
> me if I don't).  I've finally done the smart thing and hired someone to 
> help me set up the site, but at the moment my own time is being taken up 
> by a book project that landed in my lap a month ago. (Baby names ... why 
> did it have to be baby names?)


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Subject: Re: [h-cost] Time line problem
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This division works well, I think, but I question the long period of the
"Edwardian years".  Since Edward died in about the first decade of the 20th
C, the return of the 'classical' columnar line of the fashions from about
1912 to the beginning of the War (WW1) and the sort of return of the
romantic line of the second quarter of the 19th c do not continue the
frou-frou of the "Mauve Decade' that I think of as Edwardian.
Only my point of view.
Kathleen
(----- Original Message ----- 
From: <rreed@indirectobject.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, October 14, 2004 11:53 AM
Subject: RE: [h-cost] Time line problem


> Sorry, didn't mean to ruffle any feathers.  The only reason I stated that
> was because in my research, the Civil War era clothing that I've seen is
all
> American -- kind of like how all Elizabethan clothing is assumed to be
> English.
>
> I did some research last night because this interests me and found this
> information so far:
>
> Ancient Egyptian 3300 BC-30 BC
> Ancient Roman 30BC - 476 CE
> Byzantine 330 - 1453
> Dark Ages 400-1000
> Early Gothic 1000-1200
> Medieval Europe 1200-1450
> Italian Renaissance 1420-1600
> Tudor
>  - Henry VII 1485-1509
>  - Henry VIII 1509-1547
>  - Edward VI 1547-1553
>  - Marian 1553-1558
>  - Elizabethan 1558-1603
> Jacobean 1603-1625
> Baroque 1620-1750
> Georgian 1720-1812
> American Colonial 1492-1775
> American Revolution 1775-1800
> Neo Classical Period 1800-1825
> Regency 1812-1830
> Empire 1820-1840
> American Civil War Era 1861-1865
> Victorian Era 1837-1901
> Edwardian Era 1901-1919
>
> Anyone who has different info on dates, or different/more time periods,
etc.
> please fill in.  Hope this is helping whoever posted the original
question.
>
> Becky
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Teddy
> Sent: Thursday, October 14, 2004 3:18 AM
> To: h-costume@indra.com
> Subject: RE: [h-cost] Time line problem
>
>
> > Also, the Civil War era pertains only to American styles.
>
> No! - The AMERICAN Civil War era pertains only to American styles -
> other countries had Civil War eras of their own (like the ENGLISH Civil
> War era which is 17th century... Typically, however, websites and books
> by americans refer to "THE" Civil War, meaning the American one because,
> *of course* it's the American one so there's no need to qualify it by
> stating the country or actual period.
>
> Sorry, pet-peeve of mine.
>
> Teddy
> _______________________________________________
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Subject: Re: [h-cost] Time line problem
Date: Fri, 15 Oct 2004 09:29:37 -0400
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But I think that it is great that the events of world history get
remembered, even if we apply them to our own National events. And when we
try to fathom the clothing and other cultural changes of other 'National'
events, we begin to be "Doing History" and not merely trying to mirror it.
Kathleen
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, October 14, 2004 3:25 PM
Subject: Re: [h-cost] Time line problem


> In a message dated 10/14/2004 12:47:52 PM Eastern Standard Time,
> suzi@suziclarke.co.uk writes:
> Regency 1812-1830
> >Empire 1820-1840
> >American Civil War Era 1861-1865
> And that is sticky, because, strictly speaking, the English regency ended
in
> 1820 (21?)  And there was the French Regency in the 18th century. Also,
the
> French Empire was, of course, 1804-1815, even though the Empire style in
> decorative arts is later.
>
> Not real simple, is it?
>
> Ann Wass
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Subject: Re: [h-cost] timelines
Date: Fri, 15 Oct 2004 09:41:19 -0400
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Thank you!  I think that we are beginning to get a nice picture of how our
individual regional History gets taught!  Now all we have to do is take all
these National lists and put them on a very large piece of paper so that we
can tell at a glance what was going on in the rest of the world. This could
help to translate the sometimes confusing ideas we have about all these
clothing differences that we see happening during the same time periods.
Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Friday, October 15, 2004 4:08 AM
Subject: [h-cost] timelines


> Hi, You asked:The listings seem to be very England/American biased - and
I'm
> an
> American! How do other folks slice it up?
>
> Here in Denmark we split it up like this:
>
> Ancient Egypt: 3000-500
> Ancient Greece: 700-150
> Etruskian Period: 1000-300
> Rome 700BC-476
> Byzantine: 300-1450
> Roman Medieval 800-1200
> Gothic Medieval 1200-1480
> Italian Renaissance: 1480-1510
> German Renaissance: 1510-1550
> Spanish Renaissance: 1550-1600
> Baroque: 1620-1715
> Rčgence: 1715-1730
> Rococo: 1730-1770
> Louix XVI: 1770-1795
> Directoire: 1795-1804
> Empire: 1800-1820
> Biedermeier: 1820-1835
> New Rococo: 1835-1870
> Style Mixing Period: 1870-1890
> Jugendstyle: 1890-1910
> Funktionalism: 1920-1940
> Our time: 1940-
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
Subject: Re: [h-cost] a list of extant clothing
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Heather,

You might be the right person to ask this question
of.. in hopes you have come across the items I did.
Since your catalogue tends to predate these Italian
camicias (I believe) but perhaps you might recognize
them and could hopefully head me in the right
direction for better information.
I found them in a pdf version of the book "Old Italian
Lace", photos can be found in these pdf's:

http://www.cs.arizona.edu/patterns/weaving/books/re_lace_02.pdf
scroll down to page three to:
 
"No. 26 - Shirt of white linen with embroidery and
bobbin-lace edging in coloured silk and gold.
Ciccoline, Macerata."

page 10:

"No. 34 - Shirt, embroidered in curl stitch and drawn
work; the seams are hidden with small instertions of
ivory stitch. XVI century, Binney, Florence."

http://www.cs.arizona.edu/patterns/weaving/books/re_lace_05.pdf


scroll to page 6

"No. 117 - XVII century. Original shirt with neck and
shoulder ornaments in reticello. The smaller
insertions are bobbin-made (Abruzzi). Chieti
Exhibition, 1906."
 
This one is undoubtedly female-
scroll down to page 10
 
"Original shirts with reticello. Nos. 163, 164 - Civic
Museum, Milan."

http://www.cs.arizona.edu/patterns/weaving/books/re_lace_07.pdf
page 19

"Two original shirts. No. 218 - with reticello
instertion and and edging, the seams hidden with
ivory-stitch. no. 219, 220 - With reticello
instertions and edging, seams hidden with
bobbin-insertion. Ciccolini, Macerata."

Do these seem at all familiar to you? Any clues on how
to track them down?

Thanks for any help you can provide.

Kathy

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Subject: RE: [h-cost] timelines
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Status: RO

Bjarne added some time periods I hadn't seen since Art History class, but
are definitely valid when it comes to historical fashion, art, and
architecture.  Maybe that's why this can be so difficult to pin down;
because the time period not only affects clothing, but other "artistic"
elements as well.  I am compiling all of these, maybe for a future website,
and I think I'll keep all of the dates loose.  The dates I came up with were
just from using Google and doing a search through history-related websites
from universities.

This is a great conversation!
Becky


>Here in Denmark we split it up like this:

Ancient Egypt: 3000-500
Ancient Greece: 700-150
Etruskian Period: 1000-300
Rome 700BC-476
Byzantine: 300-1450
Roman Medieval 800-1200
Gothic Medieval 1200-1480
Italian Renaissance: 1480-1510
German Renaissance: 1510-1550
Spanish Renaissance: 1550-1600
Baroque: 1620-1715
Rčgence: 1715-1730
Rococo: 1730-1770
Louix XVI: 1770-1795
Directoire: 1795-1804
Empire: 1800-1820
Biedermeier: 1820-1835
New Rococo: 1835-1870
Style Mixing Period: 1870-1890
Jugendstyle: 1890-1910
Funktionalism: 1920-1940
Our time: 1940-

Bjarne



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] timelines
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Hi Cynthia,
Well oops, you are right, i didnt think of this, something is missing
between 1940 and now.
Jugendstyle also known as Art Nuveao was called jugend style in Germany and
Denmark.
It could be translated to something like the young ones style.


Bjarne


----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1113389313.87fd26@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 15, 2004 12:51 PM
Subject: Re: [h-cost] timelines


> Bjarne og Leif Drews wrote:
> > Jugendstyle: 1890-1910
>
> Could you give us a literal-into-English translation of this term?
>
> > Our time: 1940-
>
> But that's 64 years, now!  :)  Post-60s fashion is quite a different
> thing than earlier.
>
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
>
> (8.) The "independent and non-partisan" Commission on Presidential
> Debates is neither independent nor non-partisan.  Walter Cronkite called
> CPD-sponsored debates an 'unconscionable fraud.'  -- Connie Rice, NPR
> _______________________________________________
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    Okay, so not strictly costume, but sort of costume for the wall. :-)
Just finished the Wind embroidery of the Celtic series I've designed: Earth,
Wind, Fire, Water. Images are up on the website. Direct URL is:
http://www.5rivers.org/en-gb/dept_33.html and then scroll down to the third
item. You can click on the 'more product information' to get a larger image.

    Have Water to edge and get on the frame today. Oh boy, oh boy. :-D

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org

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> Probably the best views I've seen of this are in a manuscript 
> painting of Francois I and his court. <snip>
> 
> Kat
> <<<<<<<<<<<<<<<<<<<<<<<<<<<<
> could this be the one you are thinking of: 
> http://www.marileecody.com/francis.jpg 
> Doesn't give a variety of views, but there is the back view of the
> boys in front.

Yep. That's the one I was thinking of.

Kat
<kat@redtrollforge.com>


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OK.  Combining Bjarne's European list with Becky's Anglocentric <G> list plus some comments, I come up with this:

Ancient Egyptian 3300 BC-30 BC Ancient Egypt: 3000-500
Etruskian Period: 1000-300
Ancient Greece: 700-150 BC
Rome 700BC-476 CE Ancient Roman 30BC - 476 CE
Byzantine 330 - 1453 Byzantine: 300-1450

Dark Ages 400-1000
	Merovingian 500-751
	Roman Medieval 800-1200
	Carolingian 751-843
	Ottonian 900-1002
	Early Gothic 1000-1200
Medieval Europe 1200-1450 Gothic Medieval 1200-1480

Italian Renaissance 1420-1600 Italian Renaissance: 1480-1510
German Renaissance: 1510-1550
Spanish Renaissance: 1550-1600

Tudor 
 - Henry VII 1485-1509
 - Henry VIII 1509-1547
 - Edward VI 1547-1553
 - Marian 1553-1558
 - Elizabethan 1558-1603
Jacobean 1603-1625
Baroque 1620-1750 Baroque: 1620-1715
RĂ¨gence: 1715-1730
Rococo: 1730-1770
Georgian 1720-1812 Georgian is 1720 - 1830.
American Colonial 1492-1775
Louix XVI: 1770-1795
American Revolution 1775-1800
Directoire: 1795-1804
Empire: 1800-1820
Neo Classical Period 1800-1825
Biedermeier: 1820-1835
Regency 1812-1830 Regency is 1810 - 1820
Empire 1820-1840
New Rococo: 1835-1870
Victorian Era 1837-1901
American Civil War Era 1861-1865
Style Mixing Period: 1870-1890
Jugendstyle (Art Nouveau): 1890-1910
Edwardian Era 1901-1919
Funktionalism: 1920-1940
Our time: 1940-

Please comment as to which were strictly American, European, or whatever.  I'd like to add annotation to this.  I'm finding it very useful - even it everything is an approximation.

BTW, is Etruskian the same as Etruscan?  Also, I'm assuming that the years for it are BC.

Thanks!  Good thread.
Julie

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Just a reminder that there are 2 very good costume exhibits in New
England (I can recommend both personally) that will be ending shortly:

>From June 25 through October 24, The Mark Twain House & Museum brings
together for the first time clothing and accessories that helped define
Twain, his family and his times, in a new exhibition, Modesty Died When
Clothes Were Born: Costume in the Life and Literature of Mark Twain.
Mark Twain House and Museum
351 farmington Ave, Hartfor CT, 800-247-0998
http://www.marktwainhouse.org/exhibitions/

AND

The U.S. Premiere of The Lord of the Rings Motion Picture Trilogy  The
Exhibition is now at The Museum of Science, Boston, MA through October
24.
The exhibition features hundreds of pieces of memorabilia from the epic
film trilogy including original costumes and jewelry, as well as the One
Ring. Immersed in film props, visitors can explore the groundbreaking
technology used in the films such as computer-generated special effects
and animatronics, and hear from cast, crew, and director in exclusive
"behind-the-scenes" interviews shown on videos throughout the exhibit.

www.mos.org for more info

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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At 10:29 15/10/2004 -0700, you wrote:
>OK.  Combining Bjarne's European list with Becky's Anglocentric <G> list 
>plus some comments, I come up with this:
>
>Ancient Egyptian 3300 BC-30 BC Ancient Egypt: 3000-500
>Etruskian Period: 1000-300
>Ancient Greece: 700-150 BC
>Rome 700BC-476 CE Ancient Roman 30BC - 476 CE
>Byzantine 330 - 1453 Byzantine: 300-1450
>
>Dark Ages 400-1000
>         Merovingian 500-751
>         Roman Medieval 800-1200
>         Carolingian 751-843
>         Ottonian 900-1002
>         Early Gothic 1000-1200
>Medieval Europe 1200-1450 Gothic Medieval 1200-1480


There are a whole lot of purely English divisions here - Saxon, Norman etc, 
and I am not sure of the dates. There is also an English Renaissance, but 
again, I am not sure of the dates, but I think concurrent with Henry Vlll 
Also odd divisions like the Wars of the Roses etc.


>Italian Renaissance 1420-1600 Italian Renaissance: 1480-1510   ???
>German Renaissance: 1510-1550
>Spanish Renaissance: 1550-1600
>
>Tudor
>  - Henry VII 1485-1509
>  - Henry VIII 1509-1547
>  - Edward VI 1547-1553
>  - Mary 1553-1558
>  - Elizabeth 1558-1603 also called Elizabethan

This period is known in our house as Tudorbethan, I think thanks to the 
Daily Telegraph newspaper!

>Jacobean 1603-1625
   Carolingian 1625 - 1649                                       English
   English Civil War sometimes called Puritan 1649 - 1660         English
   Restoration 1660- 1685                                         English

>Baroque 1620-1750 Baroque: 1620-1715
>RĂ¨gence: 1715-1730       French I think
>Rococo: 1730-1770
>Georgian 1720-1812 Georgian is 1720 - 1830.
>American Colonial 1492-1775
>Louix XVI: 1770-1795
>American Revolution 1775-1800
>Directoire: 1795-1804
>Empire: 1800-1820
>Neo Classical Period 1800-1825
>Biedermeier: 1820-1835
>Regency 1812-1830 Regency is 1810 - 1820
>Empire 1820-1840         Not English, but sometimes called the Romantic Era
>New Rococo: 1835-1870      not English
>Victorian Era 1837-1901
>American Civil War Era 1861-1865
>Style Mixing Period: 1870-1890         not English
>Jugendstyle (Art Nouveau): 1890-1910
>Edwardian Era 1901-1919
>Funktionalism: 1920-1940             not English
>Our time: 1940-


When was Art Deco?

My comments, purely personal and up to be corrected.

Suzi



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] costume exhibitions
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Katy Bishop wrote:
> The U.S. Premiere of The Lord of the Rings Motion Picture Trilogy  The
> Exhibition is now at The Museum of Science, Boston, MA through October
> 24.

It's fun, but not NEARLY enough costumes -- just one per character, 
although there's lots of armor.  Worth it, though, if you're nearby.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Earlier this week former employees of Sproul & Associates (operating 
under the name Voters Outreach of America), a firm hired by the 
Republican National Committee to register voters, told a Nevada TV 
station that their supervisors systematically tore up Democratic 
registrations.  -- NYT 8/15/04
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Date: Fri, 15 Oct 2004 14:13:22 -0400 (EDT)
Subject: Re: [h-cost] Time Line - 20thC
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>>Jugendstyle (Art Nouveau): 1890-1910
>>Edwardian Era 1901-1919
>>Funktionalism: 1920-1940             not English
>>Our time: 1940-

> When was Art Deco?

     I think of it as Jazz Age, post WWI and into the 1920s.

     U.S. had the Depression era.

     Post WWII was the New Look developed by Dior and other designers,
which went into the 1950s.

     Late 50s/early 60s was the Eisenhower era in the US.  1950s was the
beginning of the Nuclear era, although that may not be attached to
fashion so much.

     Late 60s/early 70s was youth vs the establishment, with fashions for
both.

     Mid 70s, the Disco era, late 70s into the 80s was Punk & New Wave,
and then it starts getting blurry because we're to close to it all. 
90s, the Lycra era? :-)

     There was a lot of fashion change in the 20thC (and probably will be
in the 21st as well) so the eras are in decades rather than
centuries.

     -Carol
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From h-costume-bounces@indra.com  Fri Oct 15 14:34:11 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Time Line
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Hi Julie,
You asked about Etruskian is the same as Etruscan.
I am all red ears here, because it was me misspelling the name. Of cause it
is etruscan, Sorry...........

Bjarne


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From h-costume-bounces@indra.com  Fri Oct 15 15:10:07 2004
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From: Frank and Tracy Thallas <hardcorps@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Embroidery happy-dance
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  These are beautiful!

Liadain

-----Original Message-----
From: Five Rivers <lgsteph@wightman.ca>
Sent: Oct 15, 2004 9:06 AM
To: h-costume@indra.com
Subject: [h-cost] Embroidery happy-dance

    Okay, so not strictly costume, but sort of costume for the wall. :-)
Just finished the Wind embroidery of the Celtic series I've designed: Earth,
Wind, Fire, Water. Images are up on the website. Direct URL is:
http://www.5rivers.org/en-gb/dept_33.html and then scroll down to the third
item. You can click on the 'more product information' to get a larger image.

    Have Water to edge and get on the frame today. Oh boy, oh boy. :-D

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org

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From: Bonnie Booker <Aspasia1@gmail.com>
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Subject: [h-cost] Attifet
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I am trying to find info on the 16th c. attifet...you know, the "Mary
Queen of Scots hat."  I found several patterns.  The teardrop shape
seems the most accepted one, and florest wire to shape it.  I will be
doing cotton velveteen lined with bridal satin.  Should I inner-line
it?  How heavy should it be?  Is there a better shape?  Can anyone
tell me a more authentic shape?  I know there are patterns to be
bought, but I have patterns. Thank you for any help you can give me.
-- 
Aspasia Moonwind
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From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] costume exhibitions
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On Fri, 15 Oct 2004, Cynthia Virtue wrote:

>Katy Bishop wrote:
>> The U.S. Premiere of The Lord of the Rings Motion Picture Trilogy  The
>> Exhibition is now at The Museum of Science, Boston, MA through October
>> 24.
>
>It's fun, but not NEARLY enough costumes -- just one per character,
>although there's lots of armor.  Worth it, though, if you're nearby.

I agree, It was a very well put together exhibit, I liked the windows in
the walls behind the mannequins to allow us to see the backs of the
costumes.  The detail on some on them was amazing.  I did want to see
more from each character though.  I wish they had a catalogue of the
costumes too.

Don't know where the exhibit is going next.

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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> > Probably the best views I've seen of this are in a manuscript 
> > painting of Francois I and his court. <snip>
> > 
> > Kat
> > <<<<<<<<<<<<<<<<<<<<<<<<<<<<
> > could this be the one you are thinking of: 
> > http://www.marileecody.com/francis.jpg 
> > Doesn't give a variety of views, but there is the back view of the
> > boys in front.

My account has been off-line (ISP "seamless transition") so I don't know
if this was answered before -- and idea of who painted this painting?

Thanks.
Jerusha
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Date: Fri, 15 Oct 2004 13:02:57 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Attifet
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At 03:34 PM 10/15/2004 -0400, you wrote:
>I am trying to find info on the 16th c. attifet...you know, the "Mary
>Queen of Scots hat."  I found several patterns.  The teardrop shape
>seems the most accepted one, and florest wire to shape it.  I will be
>doing cotton velveteen lined with bridal satin.  Should I inner-line
>it?  How heavy should it be?  Is there a better shape?  Can anyone
>tell me a more authentic shape?  I know there are patterns to be
>bought, but I have patterns. Thank you for any help you can give me.
>--
>Aspasia Moonwind


Hello Aspasia,

I love that hat, and have a couple of patterns myself. Both are teardrop 
shaped.

You may find the bridal satin may shift on your head, as it is slippery. 
But it will look good. I prefer to use linen now for linings, so hats like 
that don't slip as much. Not quite as pretty tho.

The way to make it I would suggest using a buckram form outlined in the 
wire. Theatrical two-ply is the better choice if you can find it. Some 
people prefer to make hats in general using plastic canvas, but I am not 
sure how well that will work for the attifet, considering the shaping of it.

If you need help on construction, there are links to sites on hat making at 
the Costumer's Manifest.
http://www.costumes.org/HISTORY/100pages/HATS.HTM

Enjoy the hat once you have it. I find it one of the more flattering hats 
for the time period. Yet silly me will be making a Tudor gable next week 
(sigh, things we do for our characters).


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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> -----Original Message-----
> From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> Behalf Of Gail & Scott Finke
> Sent: Thursday, October 14, 2004 5:59 PM
> To: h-costume@indra.com
> Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 825
> 
> 
<snip>
> 
> Actually, an obvious direction may not be a problem. I 
> remember several
> discussions on this list about pictures of or extant medieval brocade
> garments that had been pieced together with NO regard to matching the
> pattern. Upside down pieces, etc. Anyone else remember these? 
> Anyway, seeing
> that I can't cite any references, I can't say for sure. But 
> I'm willing to
> bet there is plenty of precedence.
> 

It's true. I have seen, with my own little eye, a Medieval cope of red
velvet that had been pieced in every-which-way, without regard to
direction of nap. The person or persons who made it didn't even pay much
attention to regular-sized or symmetrical piecing. 

Eirene 

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Subject: [h-cost] dyeing of the wool
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Hi Angelique, I do a lot of dyeing and I've found the most important
thing when dyeing wool is to take the temperature down VERY slowly as
you rinse - if you go from dying temp to cold too quickly that's when
you end up with a tragic piece of expensive dishcloth. 
 
The weave of the wool affects the shrinkage too - an open fancy weave;
much more likely to shrink. A worsted; very unlikely.

Also depending of the length you've got, I've had a lot of luck making
my own version of a old-fashioned tenter, and stretching the fabric (on
tenterhooks) from selvedge edge to selvedge edge over it as it dries.
This only works (for me) for lengths up to about 3m a piece (although I
could have made the tenter bigger).
 
Acid dyes are generally the best ones for wool, but I'd probably suggest
you use ProcionMX (you don't use soda ash with it for wool, add vinegar
instead) and add some sodium bisulphate to help with the absorption, as
it sounds like you won't do much wool dyeing on a continuing basis; and
you can always use ProcionMX again on cellulose, but you might not have
any other use for an acid dye. Also I've never had a problem with
shrinkage on wool using Procion, whereas I had a shocker earlier this
year using acid dyes on wool for cloaks in a costume shop, no matter
what I tried (it was a delicate patterned open weave).
 
Just remember, do a test piece for colour, and have fun!
 
gabriella
 
>Recently I bought a bit of wool flannel for a gown. It appeared on the
monitor to be a lovely >Deep brown (like pumpernickle bread?) Instead
it's more of a semi sweet chocolate. I'd like >to either try to dye a
darker brown or perhaps a near navy. Question: How badly will this
>shrink my wool? How about an appropriate dye. I really am kicking
myself for not realizing >"monitor colors may vary."
>
>Thank you, Again 
>
>        Angelique
 
 
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Greetings--

> > When was Art Deco?
>
>      I think of it as Jazz Age, post WWI and into the 1920s.

I would say into the 30s, although you also have Art Moderne, which is an
evolution of Deco, during this period.  Deco tends to be a little more
flowing than Moderne, although those who are not really familiar with the
period tend to lump them in together.  The way I would see it:

Deco:  Jazz Age, "flappers", Prohibition
Moderne: More angular lines, bias-cut gowns, pulp fiction (Indiana Jones,
Sky Captain)

Susan

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Date: Fri, 15 Oct 2004 16:54:10 -0400
From: Kristalori History <jacquelinejbump@gmail.com>
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Subject: Re: [h-cost] Attifet
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I also am a huge fan of this hat and have the Lynn Mcmaster's pattern
that I use for the most part. My only difference in opinion with
Kimiko's advice is to use plastic canvas for the hat form. Buckram is
ok but the second it gets wet you have a mashed mess. No it's not
period but it gives you a nice hat you can toss in the washer if it's
not heavily decorated. I use just about anything for lining and always
make sure to put a small comb in the inside top of the hat. This helps
to hold it on. Also if your hair is thick enough (mine is shortish but
really thick) don't be afraid to use hat pins to anchor the hat into
small knots on your head.

Bice
On Fri, 15 Oct 2004 13:02:57 -0700, Kimiko Small <kimiko@kimiko1.com> wrote:
> Hello Aspasia,
> 
> I love that hat, and have a couple of patterns myself. Both are teardrop
> shaped.
> 
> You may find the bridal satin may shift on your head, as it is slippery.
> But it will look good. I prefer to use linen now for linings, so hats like
> that don't slip as much. Not quite as pretty tho.
> 
> The way to make it I would suggest using a buckram form outlined in the
> wire. Theatrical two-ply is the better choice if you can find it. Some
> people prefer to make hats in general using plastic canvas, but I am not
> sure how well that will work for the attifet, considering the shaping of it.
> 
> If you need help on construction, there are links to sites on hat making at
> the Costumer's Manifest.
> http://www.costumes.org/HISTORY/100pages/HATS.HTM
> 
> Enjoy the hat once you have it. I find it one of the more flattering hats
> for the time period. Yet silly me will be making a Tudor gable next week
> (sigh, things we do for our characters).
> 
> Kimiko Small
> Owner ~ DreamTime Studios
> http://www.dreamtime-studios.com
> Fresno, CA, USA
> 
> "When there is fear, there is no creativity" ~ C. Lowell
-- 
============================
Italian Ladies 2005 Calendar
http://www.lulu.com/kristalori
http://kristalori.com
http://snipurl.com/96f1 Dress Diaries
http://snipurl.com/9bir That 70's Trailer
============================
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Subject: Re: [h-cost] costume exhibitions
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--- Katy Bishop <vintage@shore.net> wrote:
> >From June 25 through October 24, The Mark Twain
> House & Museum:  Modesty Died When
> Clothes Were Born: Costume in the Life and
> Literature of Mark Twain.

Thanks, Katy--I have got to make it into Hartford.

Maybe this weekend.

Ann in CT


		
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Katy Bishop wrote:
  > I agree, It was a very well put together exhibit, I liked the windows in
> the walls behind the mannequins to allow us to see the backs of the
> costumes.  The detail on some on them was amazing.  I did want to see
> more from each character though.  I wish they had a catalogue of the
> costumes too.
	or in light of no catalog would allow cameras! <sigh>


> 
> Don't know where the exhibit is going next.

	it will close Oct 24 and then go to Sydney Australia. From there it 
will return to Houston and then to Indianapolis. Those are all the plans 
at this point. Considering they just added those two latter sites, there 
may be more added next year.

	-Judy Mitchell
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Subject: Re: [h-cost] 1940s pants patterns?
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
> A losing battle, but I fight the good fight ;-) There's just so much that
> comes in that I don't see in time... I keep bleach in the back room for
> tests, and a marking pen in my pocket for scribbling "with lycra" on the
> tags :-P  What's really frustrating is seeing MANUFACTURER tags on the
> bolts that don't indicate lycra content.

You must be making progress, though--right after cutting my length of
uninfected wool, the manager did a burn test while I watched! =}  I had a
really dumb moment, though; I picked up a worsted wool remnant on a whim,
and gave it a quick tug (along the WARP) to check for lycra. I checked the
weft later, and boom, lycra. But for my modern pants that's fine with me,
and the price was appropriate for a blend even though the label was wrong.
It's going to be lined in linen, anyway!

> When I was searching for a vintage c. 1962 style dress, I had a great deal
> of luck on eBay. Many of the sellers give you good photos of both front
> and back of the envelopes, and size measurements. Certain patterns come up
> over and over, so it's worth looking at the pictures even for sizes that
> aren't yours and making notes on the numbers of the patterns you like, so
> you'll catch them when they do appear in your size.

I probably will do that; I think I've found enough details in the vintage
sewing manuals I'm using in order get the look I want, but if nothing else
the stuff on eBay will serve as inspiration for which details I want where.

> Someday when I get a box of round tuits to spare, I intend to nail down
> exactly when in the 1930-1960 range my bust shape was in fashion, and buy
> some vintage jacket and dress patterns that will thus fit my figure with
> less trouble.

That's the motive behind my pants--turns out the 1940s are the time when my
rear end was fashionable, and though my thighs weren't, at least hiding them
was! Since my football player shoulders were in fashion then, too, I may
have to dress 1940s a lot more often.

http://www.vintagesewing.info is the source of the books I'll be using;
anyone who's looking for a more modern period might really enjoy it. They
have sewing manuals, pattern drafting textbooks, and similar text from the
1890s to the 1940s.

(I hope all their copyright stuff is in place--I'd hate for anything to
happen to this site!)

-E the REALLY late answering her email

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From: "Glenda Robinson" <glendar@compassnet.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] costume exhibitions
Date: Sat, 16 Oct 2004 09:12:49 +1000
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Sydney, Australia? I usually delete things about costume exhibitions,
because I'll never get to see them, being on the opposite side of the world
to Europe and Nth America.  Could someone please fill me in about this
exhibition?

I'll have to organise an exhibition party. I don't care WHAT period it is,
it'll still be exciting.

Glenda.

----- Original Message ----- 
From: "Judy Mitchell" <judymitch@oldwaylane.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, October 16, 2004 8:10 AM
Subject: Re: [h-cost] costume exhibitions


> Katy Bishop wrote:
>   > I agree, It was a very well put together exhibit, I liked the windows
in
> > the walls behind the mannequins to allow us to see the backs of the
> > costumes.  The detail on some on them was amazing.  I did want to see
> > more from each character though.  I wish they had a catalogue of the
> > costumes too.
> or in light of no catalog would allow cameras! <sigh>
>
>
> >
> > Don't know where the exhibit is going next.
>
> it will close Oct 24 and then go to Sydney Australia. From there it
> will return to Houston and then to Indianapolis. Those are all the plans
> at this point. Considering they just added those two latter sites, there
> may be more added next year.
>
> -Judy Mitchell
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Melanie Unruh-Bays wrote:

> It's true. I have seen, with my own little eye, a Medieval cope of red
> velvet that had been pieced in every-which-way, without regard to
> direction of nap. The person or persons who made it didn't even pay much
> attention to regular-sized or symmetrical piecing. 

Chicago Institute of Art?  Or maybe there's two of them!

Also seen there: voided velvet with gold-ground brocade, just like in 
some of the fancier oil paintings, fuschia silk with gold polka dots.... 
(http://www.virtue.to/articles/real_fabrics.html)


-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Earlier this week former employees of Sproul & Associates (operating 
under the name Voters Outreach of America), a firm hired by the 
Republican National Committee to register voters, told a Nevada TV 
station that their supervisors systematically tore up Democratic 
registrations.  -- NYT 8/15/04
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Subject: Re: [h-cost] a list of extant clothing (pre-Renn)
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At 6:14 AM -0600 10/15/04, Sue Clemenger wrote:
>Yeah, but are they at least *Welsh* baby names? <evil grin>
>--sue


Only a few of them -- I'm working hard at not skewing the data too 
badly.  It's hard enough to keep the statistics-geeking to a minimum.

Heather


>Heather Rose Jones wrote:
>
>>I working on getting the database in shape for interactive web 
>>access -- both for people who want to search for things and so that 
>>people can check to see whether I've included something they know 
>>about (and tell me if I don't).  I've finally done the smart thing 
>>and hired someone to help me set up the site, but at the moment my 
>>own time is being taken up by a book project that landed in my lap 
>>a month ago. (Baby names ... why did it have to be baby names?)
>
>
>_______________________________________________
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-- 
****
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heather.jones@earthlink.net
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At 1:21 PM -0700 10/15/04, Melanie Unruh-Bays wrote:
>  > -----Original Message-----
>>  From: h-costume-bounces@indra.com
>>  [mailto:h-costume-bounces@indra.com]On
>  > Behalf Of Gail & Scott Finke



>  > Actually, an obvious direction may not be a problem. I
>>  remember several
>>  discussions on this list about pictures of or extant medieval brocade
>>  garments that had been pieced together with NO regard to matching the
>>  pattern. Upside down pieces, etc. Anyone else remember these?
>>  Anyway, seeing
>>  that I can't cite any references, I can't say for sure. But
>>  I'm willing to
>>  bet there is plenty of precedence.
>>
>
>It's true. I have seen, with my own little eye, a Medieval cope of red
>velvet that had been pieced in every-which-way, without regard to
>direction of nap. The person or persons who made it didn't even pay much
>attention to regular-sized or symmetrical piecing.

One thing to keep in mind is that church vestments were often made up 
from donations -- either of fabric or of used garments.  And often 
were re-made and re-made over the centuries.  (Traceable by 
contrasting the style of the garments with the type of fabric.) 
There are a couple of vestments where researchers have analyzed the 
cut of the original secular garment by backtracking from the shape of 
the pieced-together vestments.

The brocades in "first-cut" garments that I've seen (both secular and 
eclesiastic) stick to having the design "correct" on the main pieces, 
with things like gussets or pieced corners being more random.  The 
only truly all-random piecing I've seen has been in garments that are 
clearly re-made from some previous garment.

Heather
-- 
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 15, 2004 2:09 AM
Subject: Re: [h-cost] list madness?


> Sue Clemenger wrote:
> > It must be you, dearie, or your server, because I'm only getting one
> > copy of each message, and no duplicates.
> > --sue
>
>
> Thanks Sue, and everyone else who responded. My mailserver seems to be
> hiccuping, I got over 200 duplicate copies of messages last night, and
> it's begun again this morning...
> Dawn

OK I haven't got that far but I've found that if my computer starts
downloading my emails and is interrupted halfway through the server keeps
the messages I've already downloaded and if I start it again it will
download a second copy of all the ones I've already downloaded.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: [h-cost] Powdered wigs
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Does anyone know what the wig powder was made of during the Baroque period?
 
Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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From h-costume-bounces@indra.com  Sat Oct 16 04:40:16 2004
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From: Marquesate <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Powdered wigs
To: Historical Costume <h-costume@indra.com>
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Status: RO

Penny, when exactly do you mean? Because powdering one's wig only came in at
the very end of what's commonly called the Baroque period.

The annoying thing is that I dimly remember reading what it was made out of
(they found wigs in a stately home, used to stuff a bed and analyzed the powder
on it) and I can't remember for certain and since I moved into a more or less
temp accomodation, I have most of my books and notes in storage. :-(

I try to force my brain into submission, though.

Nicole

 --- Penny Ladnier <penny@costumegallery.com> wrote: 
> Does anyone know what the wig powder was made of during the Baroque period?
>  
> Penny E. Ladnier
> Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
> www.costumegallery.com
> www.costumegallery.com/research.htm  
> www.costumeclassroom.com
> _______________________________________________
> 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 Oct 16 06:02:19 2004
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Date: Sat, 16 Oct 2004 11:00:22 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Powdered wigs
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At 00:51 16/10/2004 -0400, you wrote:
>Does anyone know what the wig powder was made of during the Baroque period?
>
>Penny E. Ladnier
>Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
>www.costumegallery.com
>www.costumegallery.com/research.htm
>www.costumeclassroom.com


According to Richard Corson, "Fashions in Hair" revised edition 1980

(Much edited by me)

"Even before the beginning of the century (18th) powder had been used 
sporadically to change the colour of the hair. About 1703 a plain white 
powder is believed to have been used for the first time."

"The powder was encouraged to stick to the hair by first plastering it with 
grease or pomatum, but even though that proved a deterrent to the 
production of clouds of powder drifting in one's wake, it hardly prevented 
anything touching the hair from being rather the worse for the encounter"

"Various substances were used for powdering, wheat flour being the first. 
(snip) In about 1715.........(there was) a search for substitutes. One of 
these was a powder made from a soft white earth, accidentally discovered 
and developed by John Schnorr, a German ironmaster. Another was a mixture 
of starch and plaster of Paris. "

"Early hair powder was usually either white or grey, sometimes black or 
brown, very occasionally blond. Later it was tinted in various colours - 
pink, blue and lavender - and strongly scented.  (snip) May 1782....red 
hair....... became the fashion, for all the Beaux and Belles wore red 
powder. "

1806 Fox (the politician possibly) wore blue powder.

During William Pitt's Premiership, a  "powder tax" was brought in, and most 
people stopped wearing wigs, some clergy, some members of the navy,  and 
army, and the Royal Family being exempt!!

Pipeclay was also used to whiten wigs, but I think that may have been 
inclined to be for military use only.

I don't know whether it would work, but powdered orris root has a wonderful 
smell, and is a very fine powder, and might work on a real hair wig, which 
is washable, so it could be washed out if it doesn't work. My wig friend 
nowadays recommends coloured hair spray, used very finely, and not, as 
recommended by another wig person, Vitapointe and baby powder! This makes 
the wig look dirty within days, and would only be practical if the wig 
could be washed every two or three days!!

Hope that helps.

Suzi


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	<001f01c4b2d1$0b344360$6400a8c0@wightman.ca>
Subject: Re: [h-cost] Embroidery happy-dance
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Lorene, this is simply breath-taking.  Both in content and workmanship.  I
would love to see it on the cloth!

Kathleen
----- Original Message ----- 
From: "Five Rivers" <lgsteph@wightman.ca>
To: <h-costume@indra.com>
Sent: Friday, October 15, 2004 12:06 PM
Subject: [h-cost] Embroidery happy-dance


>     Okay, so not strictly costume, but sort of costume for the wall. :-)
> Just finished the Wind embroidery of the Celtic series I've designed:
Earth,
> Wind, Fire, Water. Images are up on the website. Direct URL is:
> http://www.5rivers.org/en-gb/dept_33.html and then scroll down to the
third
> item. You can click on the 'more product information' to get a larger
image.
>
>     Have Water to edge and get on the frame today. Oh boy, oh boy. :-D
>
> Regards
> Lorina
> Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
> fine hand-sewn embroidered garments, historical sewing patterns &
embroidery
> supplies
> (519) 799-5577, http://www.5rivers.org  email: info@5rivers.org
>
> _______________________________________________
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I think Art Deco is probably during the same time as "Funktionalism"
Kathleen
----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 15, 2004 2:13 PM
Subject: Re: [h-cost] Time Line - 20thC


> >>Jugendstyle (Art Nouveau): 1890-1910
> >>Edwardian Era 1901-1919
> >>Funktionalism: 1920-1940             not English
> >>Our time: 1940-
> 
> > When was Art Deco?
> 
>      I think of it as Jazz Age, post WWI and into the 1920s.
> 
>      U.S. had the Depression era.
> 
>      Post WWII was the New Look developed by Dior and other designers,
> which went into the 1950s.
> 
>      Late 50s/early 60s was the Eisenhower era in the US.  1950s was the
> beginning of the Nuclear era, although that may not be attached to
> fashion so much.
> 
>      Late 60s/early 70s was youth vs the establishment, with fashions for
> both.
> 
>      Mid 70s, the Disco era, late 70s into the 80s was Punk & New Wave,
> and then it starts getting blurry because we're to close to it all. 
> 90s, the Lycra era? :-)
> 
>      There was a lot of fashion change in the 20thC (and probably will be
> in the 21st as well) so the eras are in decades rather than
> centuries.
> 
>      -Carol
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Subject: [h-cost] powdered wigs
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Colonial Williamsburg is selling a wonderfull powder. It is white and it is
perfumed, absolutely lovely.
The other day they showed a programme about Marie Antoinette in the
television from BBC Prime.
There were two maids standing on each side of the queen, who stood naked.
They had a plate with powder in front of their mouth, and they blew air on
the powder so that it got over to the queen.
When the queen had finished, you clearly noticed her footmarks on the floor.
I have never seen this before, but wondered if this was a comon thing to do
for upperclass?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] Embroidery Finished OT
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Dear Lorina,
Wonderfull work, congratulations with this.
I also am beginning to love embroidery more than costume making, perhaps
because i soon have made so many dresses of the period.
I actually am planning to make embroidered wall hangings two, in my own free
style design. I find that i am the happiest when i sit by my frame and make
embroidery.
Also i soon have a huge collection of embroidery silks to choose from. The
latest buy was japanese flat silk and it is gorgeous.

Bjarne

    Okay, so not strictly 18th century, but done with 18th century
technologies and materials :-) Just finished the Wind embroidery of the
Celtic series I've designed: Earth,
Wind, Fire, Water. Images are up on the website. Direct URL is:
http://www.5rivers.org/en-gb/dept_33.html and then scroll down to the third
item. You can click on the 'more product information' to get a larger image.

    Have Water to edge and get on the frame today. Oh boy, oh boy. :-D

Regards
Lorina





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Bonnie Booker <Aspasia1@gmail.com>
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Subject: Re: [h-cost] Attifet
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Thanks for the advice.  I couldn't find a pattern or instructions on
the Costumer's Manifest.  The comb sounds good.  Also, I have  very
long hair, so I will be putting it in a bun, so the hatpins should
work too.  I figure two should keep it from shifting too much.  I have
a very stiff synthetic I used for my son's rapier doublet I can use to
line it with.  Then wire it.
Thanks again.


On Fri, 15 Oct 2004 16:54:10 -0400, Kristalori History
<jacquelinejbump@gmail.com> wrote:
> I also am a huge fan of this hat and have the Lynn Mcmaster's pattern
> that I use for the most part. My only difference in opinion with
> Kimiko's advice is to use plastic canvas for the hat form. Buckram is
> ok but the second it gets wet you have a mashed mess. No it's not
> period but it gives you a nice hat you can toss in the washer if it's
> not heavily decorated. I use just about anything for lining and always
> make sure to put a small comb in the inside top of the hat. This helps
> to hold it on. Also if your hair is thick enough (mine is shortish but
> really thick) don't be afraid to use hat pins to anchor the hat into
> small knots on your head.
> 
> Bice
> On Fri, 15 Oct 2004 13:02:57 -0700, Kimiko Small <kimiko@kimiko1.com> wrote:
> > Hello Aspasia,
> >
> > I love that hat, and have a couple of patterns myself. Both are teardrop
> > shaped.
> >
> > You may find the bridal satin may shift on your head, as it is slippery.
> > But it will look good. I prefer to use linen now for linings, so hats like
> > that don't slip as much. Not quite as pretty tho.
> >
> > The way to make it I would suggest using a buckram form outlined in the
> > wire. Theatrical two-ply is the better choice if you can find it. Some
> > people prefer to make hats in general using plastic canvas, but I am not
> > sure how well that will work for the attifet, considering the shaping of it.
> >
> > If you need help on construction, there are links to sites on hat making at
> > the Costumer's Manifest.
> > http://www.costumes.org/HISTORY/100pages/HATS.HTM
> >
> > Enjoy the hat once you have it. I find it one of the more flattering hats
> > for the time period. Yet silly me will be making a Tudor gable next week
> > (sigh, things we do for our characters).
> >
> > Kimiko Small
> > Owner ~ DreamTime Studios
> > http://www.dreamtime-studios.com
> > Fresno, CA, USA
> >
> > "When there is fear, there is no creativity" ~ C. Lowell
> --
> ============================
> Italian Ladies 2005 Calendar
> http://www.lulu.com/kristalori
> http://kristalori.com
> http://snipurl.com/96f1 Dress Diaries
> http://snipurl.com/9bir That 70's Trailer
> ============================
> 
> 
> _______________________________________________
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> 


-- 
Aspasia Moonwind
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At 15:59 16/10/2004 +0200, you wrote:
>Colonial Williamsburg is selling a wonderfull powder. It is white and it is
>perfumed, absolutely lovely.
>The other day they showed a programme about Marie Antoinette in the
>television from BBC Prime.
>There were two maids standing on each side of the queen, who stood naked.
>They had a plate with powder in front of their mouth, and they blew air on
>the powder so that it got over to the queen.
>When the queen had finished, you clearly noticed her footmarks on the floor.
>I have never seen this before, but wondered if this was a comon thing to do
>for upperclass?


There are pictures and cartoons of hair powder being blown at men in the 
Richard Corson book from which I quoted. I have not seen pictures of it 
happening to women, but they are shown wearing powdering jackets, Mme de 
Pompadour at her dressing table being one example.

Suzi


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From: Janet Renzetti <celtic_dragonrider@yahoo.ca>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
To: Historical Costume <h-costume@indra.com>
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I am wondering if he is a priest or other important figure.  A few reasons being that clergy higher than friar often had fancy "woman-like" robes in pictures that I had seen, also he is standing higher than Henry looks like on a platform o box.  No one's head is higher than the king's.  When in close up, it looks like a masculine face.  
 
I will examine it more too.  I am sure everyone else has hashed it out too.
 
Janet

purplkat@optonline.net wrote:
My question regards the man in the background...

The 'over-coat' he is wearing - is that a man's outfit or can ladies wear it??

Kat

----- Original Message -----
From: Janet Renzetti > 
> http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/6henry8.jpg

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Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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>
> I am wondering if he is a priest or other important figure.  A few reasons being that clergy higher than friar often had fancy "woman-like" robes in pictures that I had seen, also he is standing higher than Henry looks like on a platform o box.  No one's head is higher than the king's.  When in close up, it looks like a masculine face.  

He's Henry VII

Jerusha

> ----- Original Message -----
> From: Janet Renzetti > 
> > http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1543/6henry8.jpg
>
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From h-costume-bounces@indra.com  Sat Oct 16 11:37:25 2004
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Subject: [h-cost] The Medici Family
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Greetings!

For those in America who have cable, this Sunday evening (October 17th
at 9pm Eastern Time), there's a program on called "The Mummy
Detective". This is the first show and they are focusing on the Medici
family, specifically Cosimo, Eleanora, and the boys. The commericals
for the program shows lots of portraits, so I'm really hoping that
they might show extant clothing and/or portraits that we don't get to
see often.

My VCR is already set up to record!

Also, on November 7 (at least in my area--check your local PBS
listing), on Masterpiece Theater, there's a new costume drama, Henry
VIII.  Ray Winstone is Henry, Helena Bonham Carter is Anne Boleyn;
Emilia Fox is Jane Seymour; David Suchet is Cardinal Wolsey; Assumpta
Serna is Katherine of Aragon; Pia Girard is Anne of Cleves (Pia
Girard), Emily Blunt is Katharine Howard; and Clare Holm is Catherine
Parr.

It's available on Amazon for around $26.

Kate


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From h-costume-bounces@indra.com  Sat Oct 16 16:56:45 2004
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Subject: [h-cost] Re: Embroidery Finished OT
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Dear Bjarne,

    Thanks kindly for the compliment. Like you I have come to love the
embroidery more than costume making. Frankly, a blank piece of cloth sets my
mind to twitching. And I've also found my love of painting, and my love of
sculpting, have found a new inspiration and expression in the creation of
art embroideries. The fact I'm using techniques and technologies in use for
hundreds of years adds to the whole process for me.

    Like you I do love the flat silks. I find, however, I'm limiting my
'palette in the same way I limit my painting palette. In watercolours I work
primarily with transparent pigments, with a limited array of colours,
preferring to mix my hues. In embroidery the nature of the designs I create
dictates to me what my palette for that piece will be, and usually I find I
limit the choices to a few, carefully considered stitches, materials, and
techniques.

    I'm afraid, however, I will likely always be a magpie, as I do so love
working with real gold thread. I had to really restrain myself from using a
lot of gold in the recent Wind embroidery. As I worked I thought perhaps
couching on some gold in certain areas would work. Am I ever glad I decided
simply to lay the gold on first and assess how it would look. Because it
looked awful! Totally destroyed the subtle nature of the design I was
attempting to achieve - which was to emulate the sense of wind.

    But I'm rambling at this point.

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org

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From h-costume-bounces@indra.com  Sat Oct 16 21:38:48 2004
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I have a huge roll of buckram sitting in my sewing room - got to use it 
for something! If I use it for hats, what do I have to do to prevent 
hats becoming a "mashed mess" if they get wet?
Thanks, Aylwen

On Saturday, October 16, 2004, at 06:54 AM, Kristalori History wrote:

> I also am a huge fan of this hat and have the Lynn Mcmaster's pattern
> that I use for the most part. My only difference in opinion with
> Kimiko's advice is to use plastic canvas for the hat form. Buckram is
> ok but the second it gets wet you have a mashed mess. No it's not
> period but it gives you a nice hat you can toss in the washer if it's
> not heavily decorated. I use just about anything for lining and always
> make sure to put a small comb in the inside top of the hat. This helps
> to hold it on. Also if your hair is thick enough (mine is shortish but
> really thick) don't be afraid to use hat pins to anchor the hat into
> small knots on your head.
>
> Bice
> On Fri, 15 Oct 2004 13:02:57 -0700, Kimiko Small <kimiko@kimiko1.com> 
> wrote:
>> Hello Aspasia,
>>
>> I love that hat, and have a couple of patterns myself. Both are 
>> teardrop
>> shaped.
>>
>> You may find the bridal satin may shift on your head, as it is 
>> slippery.
>> But it will look good. I prefer to use linen now for linings, so hats 
>> like
>> that don't slip as much. Not quite as pretty tho.
>>
>> The way to make it I would suggest using a buckram form outlined in 
>> the
>> wire. Theatrical two-ply is the better choice if you can find it. Some
>> people prefer to make hats in general using plastic canvas, but I am 
>> not
>> sure how well that will work for the attifet, considering the shaping 
>> of it.
>>
>> If you need help on construction, there are links to sites on hat 
>> making at
>> the Costumer's Manifest.
>> http://www.costumes.org/HISTORY/100pages/HATS.HTM
>>
>> Enjoy the hat once you have it. I find it one of the more flattering 
>> hats
>> for the time period. Yet silly me will be making a Tudor gable next 
>> week
>> (sigh, things we do for our characters).
>>
>> Kimiko Small
>> Owner ~ DreamTime Studios
>> http://www.dreamtime-studios.com
>> Fresno, CA, USA
>>
>> "When there is fear, there is no creativity" ~ C. Lowell
> -- 
> ============================
> Italian Ladies 2005 Calendar
> http://www.lulu.com/kristalori
> http://kristalori.com
> http://snipurl.com/96f1 Dress Diaries
> http://snipurl.com/9bir That 70's Trailer
> ============================
> _______________________________________________
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Once buckram gets wet that's it. You can try to press it flat but I've
yet to see it work. I'd use the buckram for hem linings or something.


On Sun, 17 Oct 2004 11:43:15 +1000, A & J Garden
<garden@earthlydelights.com.au> wrote:
> I have a huge roll of buckram sitting in my sewing room - got to use it
> for something! If I use it for hats, what do I have to do to prevent
> hats becoming a "mashed mess" if they get wet?
> Thanks, Aylwen
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Subject: [h-cost] Re: costume exhibitions
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The exhibition referenced here is the Lord of the Rings exhibit, currently 
at the Museum of Science in Boston, MA, USA.  www.mos.org will get you to 
an overview of the exhibit at present time.

Sandy

>From: "Glenda Robinson" <glendar@compassnet.com.au>
>Subject: Re: [h-cost] costume exhibitions
>
>Sydney, Australia? I usually delete things about costume exhibitions,
>because I'll never get to see them, being on the opposite side of the world
>to Europe and Nth America.  Could someone please fill me in about this
>exhibition?
>
>I'll have to organise an exhibition party. I don't care WHAT period it is,
>it'll still be exciting.
>
>Glenda.

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

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

Andromeda  


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From: "Glenda Robinson" <glendar@compassnet.com.au>
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Subject: Re: [h-cost] Re: costume exhibitions
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Thanks Sandy.

I was hoping it was something that might interest me :-(  LOTR is not my
kettle of fish , but rest of the family loves it. We have the 4 DVD set of
both I and II, but I've never seen them, except for some interviews and a 5
sec cameo with the NZ armours who we've known for years.

Oh well, I'll keep waiting patiently until I get an exhibit that suits me.

Glenda.

----- Original Message ----- 

> The exhibition referenced here is the Lord of the Rings exhibit, currently
> at the Museum of Science in Boston, MA, USA.  www.mos.org will get you to
> an overview of the exhibit at present time.
>
> Sandy
>
> >From: "Glenda Robinson" <glendar@compassnet.com.au>
> >Subject: Re: [h-cost] costume exhibitions
> >
> >Sydney, Australia? I usually delete things about costume exhibitions,
> >because I'll never get to see them, being on the opposite side of the
world
> >to Europe and Nth America.  Could someone please fill me in about this
> >exhibition?
> >
> >I'll have to organise an exhibition party. I don't care WHAT period it
is,
> >it'll still be exciting.
> >
> >Glenda.
>
> "Those Who Fail To Learn History
> Are Doomed to Repeat It;
> Those Who Fail To Learn History Correctly --
> Why They Are Simply Doomed.
>
> Achemdro'hm
> "The Illusion of Historical Fact"
>   -- C.Y. 4971
>
> Andromeda
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Attifet
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Status: RO

Ah, but if you are using 'hat weight' buckram, you can wet it to form shapes
desired and when it dries, it will become firm again, if it was not over
dampened. When the shapes are wired and covered with other materials, they
usually provide enough protection to keep the hat in tact.
At least this has been my experience.
Kathleen
----- Original Message ----- 
From: "Kristalori History" <jacquelinejbump@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, October 16, 2004 10:23 PM
Subject: Re: [h-cost] Attifet


> Once buckram gets wet that's it. You can try to press it flat but I've
> yet to see it work. I'd use the buckram for hem linings or something.
>
>
> On Sun, 17 Oct 2004 11:43:15 +1000, A & J Garden
> <garden@earthlydelights.com.au> wrote:
> > I have a huge roll of buckram sitting in my sewing room - got to use it
> > for something! If I use it for hats, what do I have to do to prevent
> > hats becoming a "mashed mess" if they get wet?
> > Thanks, Aylwen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Yeah I'm thinking more of my experience of when it's rained and it's
gotten re-wet though. The first time wet then reshaped isn't a big
deal but for some reason it really hates getting wet a second time.


On Sun, 17 Oct 2004 08:49:48 -0400, Lloyd Mitchell
<rmitchell@washjeff.edu> wrote:
> Ah, but if you are using 'hat weight' buckram, you can wet it to form shapes
> desired and when it dries, it will become firm again, if it was not over
> dampened. When the shapes are wired and covered with other materials, they
> usually provide enough protection to keep the hat in tact.
> At least this has been my experience.
> Kathleen
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From: Ms Cynthia Schrage <pioneercynthia@yahoo.com>
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Subject: [h-cost] Re: Period Bird Embroidery
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Hi all,

I found a wierd Jacobean bird which is done with
crewel, and I think I might use something like it.

http://www.berlinembroidery.com/jacobeanbird.htm

I'll have to rearrange the design elements, to fit
around the pocket opening. Who knows, maybe I'll do
something completely different. Nevertheless, keep
sending ideas.

Cynthia

<<

Hi again,
I also found one, in a book about indian embroidery.
The pattern is 
with
parrots. This is not counted stitch or crossstiching
but surface 
embroidery.
But those birds you are talking about here, are they
not cross stitched
birds?
The book is called broderies indiennes, and the parrot
pattern is based 
of
an old 18th century pattern.
Bjarne


----- Original Message ----- 
From: "Five Rivers" <lgsteph@wightman.ca>
To: <h-costume@indra.com>
Sent: Wednesday, October 13, 2004 8:45 PM
Subject: [h-cost] Re: Period Bird Embroidery


>     There are lots of images of birds for the 18th
century to be 
found on
> bed hangings. There are a goodly number of images of
these in Art of
> Embroidery by Schuette and someoneorother. Have the
book in my 
personal
> collection. It's a rare book, but I believe can be
had through ILO. 
There
> are also several images in a wee Shire Book on beds
or bed hangings; 
can't
> quite remember the name.
>
>     Hope that helps.



		
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At 04:14 PM 10/15/2004 -0400, you wrote:
> > > could this be the one you are thinking of:
> > > http://www.marileecody.com/francis.jpg
> > > Doesn't give a variety of views, but there is the back view of the
> > > boys in front.
>
>My account has been off-line (ISP "seamless transition") so I don't know
>if this was answered before -- and idea of who painted this painting?
>
>Thanks.
>Jerusha


My books don't state who the painter was.

Kimiko


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At 11:43 AM 10/17/2004 +1000, you wrote:
>I have a huge roll of buckram sitting in my sewing room - got to use it 
>for something! If I use it for hats, what do I have to do to prevent hats 
>becoming a "mashed mess" if they get wet?
>Thanks, Aylwen


The best way to prevent the hats from getting wet, is to take them off 
during a rain storm. I guess I am lucky that around here our faires are 
usually dry, except for the first spring and last fall one. We are usually 
under canvas when it does rain. And since the hats have feathers that get 
ratty as well when wet (although they dry just fine), we try to take care 
of the hats before the hats get anywhere near "soaked", usually just 
misted, with no mishaps or mashed hats so far. There are a few layers of 
wadding and fabric over the buckram to get through, so minor mists are 
often not a problem. One can also Scotchgard the hats, which usually helps 
repel water. It may however, hasten the decay of fabric in the sun.

However, if rain is a major problem in your area, plastic canvas is a 
decent alternative. I had only not recommended it for the attifet, because 
in one of my patterns, there is a dart that is sewn down the center to make 
the hat dip in front. I don't know how well the plastic canvas would shape 
along that dart, as I've only done so using buckram.

YMMV of course.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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A & J Garden wrote:
> 
> I have a huge roll of buckram sitting in my sewing room - got to use it 
> for something! If I use it for hats, what do I have to do to prevent 
> hats becoming a "mashed mess" if they get wet?
> Thanks, Aylwen


I own several hats of verious periods made with buckram/wire bases. Two 
have been rained on, but were immediately removed and dried with little 
or no ill effect. If you are worried about it, keep a parasol or 
umbrella with you.

Take it from a millener's assistant -

Buckram, real millener's buckram, should not collapse from moisture 
unless by some horrible chance you dip your hat in a pool. Its real 
enemy is wear and tear or crushing. Repeated flexing, bending and moving 
of buckram will weaken the stiffener as much or more than any dip in 
water. I've gone so far as to make hats that I know will receive heavy 
use and wear (such as theatrical pieces) with a couple of extra layers 
of reinforcement and more wire.

Hat bases shouldn't EVER be made of just buckram, unless they are meant 
to be temporary. Buckram mostly provides a support during construction 
for the actual framework, which ought to be a good stout millenery wire. 
The framework and construction should be a large part of the structure 
of the hat, and buckram's purpose during decoration is to provide a 
smooth layer upon which to apply the cloth and trims. In wear, the wire 
and buckram support each other.

If you don't have buckram, you can build a wire frame and carefully 
stretch muslin over it and sew it down to provide the smooth surface for 
covering and decoration.

Strictly speaking, any hat made with a wire/cloth base can also be made 
without the cloth and with a few extra cross wires to make sheer hats 
(for example, lighter, summer 1910's 'picture hats' are made this way). 
The real shaping structure is the wire, but these hats are more delicate 
because they have no sturdy fabric infrastructure and can be crushed 
fairly easily. Such crushing can be fixed, however, by carefully 
straightening the wires.

Have you got a copy of "From the Neck Up"? It's a great resource for 
people just getting into millenery.

All is not lost. You can indeed use your buckram.

M.
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To: Historical Costume <h-costume@indra.com>
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At 05:44 PM 10/17/2004 -0500, you wrote:
>Have you got a copy of "From the Neck Up"? It's a great resource for 
>people just getting into millenery.


Definitely a most excellent book. My copy is sadly getting a bent spine 
from the use, but I have referred to it many times.

Thanks so much for sharing your excellent experience and knowledge about 
millinery. It is good to hear from a milliner on such things.

Kimiko


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Medici Family
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ailith wrote:
> Greetings!
> 
> For those in America who have cable, this Sunday evening (October 17th
> at 9pm Eastern Time), there's a program on called "The Mummy
> Detective". This is the first show and they are focusing on the Medici
> family, specifically Cosimo, Eleanora, and the boys. 

What channel is this supposed to be on?



Dawn



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Subject: Re: [h-cost] The Medici Family
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TLC Discovery

http://tlc.discovery.com/schedule/episode.jsp?episode=2&cpi=54712&gid=13084&channel=TLC

        Chiara
  `°ş¤ř,¸¸,ř¤ş°`
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 17, 2004 6:19 PM
Subject: Re: [h-cost] The Medici Family


: ailith wrote:
: > Greetings!
: >
: > For those in America who have cable, this Sunday evening (October 17th
: > at 9pm Eastern Time), there's a program on called "The Mummy
: > Detective". This is the first show and they are focusing on the Medici
: > family, specifically Cosimo, Eleanora, and the boys.
:
: What channel is this supposed to be on?
:
:
:
: Dawn
:
:
:
: _______________________________________________
: h-costume mailing list
: h-costume@mail.indra.com
: http://mail.indra.com/mailman/listinfo/h-costume 

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In a message dated 10/17/04 7:20:30 PM Eastern Daylight Time, 
dawn@reddawn.net writes:

> What channel is this supposed to be on?
> 

The Medici show is on TLC at 9:00 EST.

Perry
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Subject: [h-cost] LOTR exhibit
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Someone said it would be traveling to Indianapolis. That's within driving
distance for me. Anyone know where in Indianapolis, and when?

Gail Finke

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] LOTR exhibit
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Gail & Scott Finke wrote:
> 
> Someone said it would be traveling to Indianapolis. That's within driving
> distance for me. Anyone know where in Indianapolis, and when?

	Much of the exhibit info is still being worked on, but so far this much 
has been confirmed for each of the next 3 stops.

Sydney Australia
Powerhouse Museum - December 16, 2004 to March 31, 2005
           o Museum Link: http://www.powerhousemuseum.com/pdf/media/LOTR.pdf
           o Tickets on sale now

Houston TX
  Houston Museum of Natural Science - June 2005
     * Museum Link: http://www.hmns.org/

Indianapolis IN
  Indiana State Museum - October 2005 - December 31
     * Museum Link: www.indianamuseum.org

	Information on the exhibits will be updated at 
<http://www.alleycatscratch.com/lotr/Exhibit/General.htm> as it comes out.

	-Judy Mitchell
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Hi!  I've not gotten emails from the list for a long time...

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares
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Subject: Re: [h-cost] TEsting if I'm on List?
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Elena,

I see you!

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] The Medici Family
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At 11:34 AM 10/16/2004 -0400, you wrote:
>Greetings!
>
>For those in America who have cable, this Sunday evening (October 17th
>at 9pm Eastern Time), there's a program on called "The Mummy
>Detective". This is the first show and they are focusing on the Medici
>family, specifically Cosimo, Eleanora, and the boys. The commericals
>for the program shows lots of portraits, so I'm really hoping that
>they might show extant clothing and/or portraits that we don't get to
>see often.
>
>My VCR is already set up to record!

Hi,

Thanks so much for the heads up on the episode. I set my TiVo to record, 
and thought it was enjoyable for what it was. I also enjoy Egyptology, so 
looking at mummies is my thing.

They did show three portraits of Eleanora, from the well known one with her 
son, to one before she died (her face is a bit thin), to a third. The first 
two I had seen before, although I don't have an image of her looking thin. 
However, the third image, of her in a dark red dress, with what appeared to 
be a dark red surcoat and a high open standing collar partlet, was one I 
had never seen before. Would someone here be familiar with this image, and 
know where I can find a copy I can look at better?

Thanks,

Kimiko


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From: Kristalori History <jacquelinejbump@gmail.com>
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Subject: Re: [h-cost] The Medici Family
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I've seen this dress. She looks pretty damn sick doesn't she. Of
course 11 kids and they said her pelvis had fractures all through it
and her legs were twisted as well. I have to wait till I can get the
DVD before I can see this but it looks really good.


On Sun, 17 Oct 2004 21:01:37 -1000 (HST), annora <lisleong@k12.hi.us> wrote:
    Is this the one?
> http://www.songsmyth.com/1560italian/elenorabronzinoc1560.jpg
> 
>        It's not very big but the page it's from
> (http://www.songsmyth.com/1560italian.html) says it's by Allori c. 1560
> and it's in the Hermitage Museum.
> 
> 
> --annora
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> two I had seen before, although I don't have an image of her looking thin. 
> However, the third image, of her in a dark red dress, with what appeared to 
> be a dark red surcoat and a high open standing collar partlet, was one I had 
> never seen before. Would someone here be familiar with this image, and know 
> where I can find a copy I can look at better?

 	Is this the one?
http://www.songsmyth.com/1560italian/elenorabronzinoc1560.jpg

 	It's not very big but the page it's from 
(http://www.songsmyth.com/1560italian.html) says it's by Allori c. 1560 
and it's in the Hermitage Museum.


--annora
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Date: Mon, 18 Oct 2004 00:55:36 -0700
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Subject: [h-cost] Henry VIII's Sumptuary Laws in full
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Status: RO

Hello all,

I am looking for the sumptuary laws passed specifically during Henry VIII's 
reign in England. However, what I am finding online is mostly writings 
talking about them in general, but not actually stating the original laws 
in full. I found one stating part of the laws, but it appears to be edited, 
and I am looking for the full version.
http://costume.dm.net/sumptuary.html

I found this page:
http://www.thrednedlestrete.com/Proclamations.htm
This is an excellent start, but I can't seem to find the right one for 
Henry's laws on who wears what, as shown in edited version on the first 
link above. However, the wool and other laws are helpful as well. I believe 
the owner of this site is on this list. Have I overlooked something?

And I found the Elizabethan equivalent, which was exactly what I am looking 
for, except I need the one just for Henry's time. This set of laws has 
lumped Henry and Mary's proclamations, and amended them for Elizabeth's 
desires.
http://renaissance.dm.net/sumptuary/who-wears-what.html

So, does anyone know what I am looking for, and can point me in the correct 
direction? A web site, or even a good book on the subject is fine, as I 
love to read books.

Thanks so much

Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Date: Mon, 18 Oct 2004 01:04:00 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] The Medici Family
In-Reply-To: <Pine.GSO.4.60.0410172043510.3461@makani>
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At 09:01 PM 10/17/2004 -1000, you wrote:
>>two I had seen before, although I don't have an image of her looking 
>>thin. However, the third image, of her in a dark red dress, with what 
>>appeared to be a dark red surcoat and a high open standing collar 
>>partlet, was one I had never seen before. Would someone here be familiar 
>>with this image, and know where I can find a copy I can look at better?
>
>         Is this the one?
>http://www.songsmyth.com/1560italian/elenorabronzinoc1560.jpg
>
>         It's not very big but the page it's from 
> (http://www.songsmyth.com/1560italian.html) says it's by Allori c. 1560 
> and it's in the Hermitage Museum.
>
>
>--annora


Hi Annora,

Thanks so much for your search, but this is the one where she looks thin. I 
only caught a headshot of this image (or maybe I didn't pay much attention 
at that time, I was cooking), but this isn't the one I am looking for. I 
didn't realize she wore red in this dress as well.

The one I am looking for she's healthy looking, and the collar on her 
partlet was standing pretty high, had pleats along the edges, and appeared 
to be smocked or something inside the partlet with beading. I wish I could 
hack our TiVo for the image, but it's the oldest version, so it would ruin 
our warranty or something. Ah, for a series 2, so I could download it onto 
the computer.

However, now I know what the the full image of her looking thin is, and 
like I mentioned before, I didn't have that one either, so this also did 
help me.

Thanks so much,


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Subject: Re: [h-cost] The Medici Family
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Kimiko~

The portrait that you're referring to is the one in Francisco's
"Treasure Room". It's a fresco, I think...it appears to be a part of
the wall. I'm on my way to class right now and don't have time to put
the image online until later.

I'll post when it's up.

kate

----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 18, 2004 4:04 AM
Subject: Re: [h-cost] The Medici Family


> At 09:01 PM 10/17/2004 -1000, you wrote:
> >>two I had seen before, although I don't have an image of her
looking
> >>thin. However, the third image, of her in a dark red dress, with
what
> >>appeared to be a dark red surcoat and a high open standing collar
> >>partlet, was one I had never seen before. Would someone here be
familiar
> >>with this image, and know where I can find a copy I can look at
better?
> >
> >         Is this the one?
> >http://www.songsmyth.com/1560italian/elenorabronzinoc1560.jpg
> >
> >         It's not very big but the page it's from
> > (http://www.songsmyth.com/1560italian.html) says it's by Allori c.
1560
> > and it's in the Hermitage Museum.
> >
> >
> >--annora
>
>
> Hi Annora,
>
> Thanks so much for your search, but this is the one where she looks
thin. I
> only caught a headshot of this image (or maybe I didn't pay much
attention
> at that time, I was cooking), but this isn't the one I am looking
for. I
> didn't realize she wore red in this dress as well.
>
> The one I am looking for she's healthy looking, and the collar on
her
> partlet was standing pretty high, had pleats along the edges, and
appeared
> to be smocked or something inside the partlet with beading. I wish I
could
> hack our TiVo for the image, but it's the oldest version, so it
would ruin
> our warranty or something. Ah, for a series 2, so I could download
it onto
> the computer.
>
> However, now I know what the the full image of her looking thin is,
and
> like I mentioned before, I didn't have that one either, so this also
did
> help me.
>
> Thanks so much,
>
>
> Kimiko Small
> Owner ~ DreamTime Studios
> http://www.dreamtime-studios.com
> Fresno, CA, USA
>
> "When there is fear, there is no creativity" ~ C. Lowell
>
> _______________________________________________
> 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 Oct 18 07:03:48 2004
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] powdered wigs
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I've not heard of blowing powder from a plate. The version I've heard of
is the person going into a "powder closet" with their maid/valet and
having powder puffed onto their hair from some kind of bellows device.

Kate Bunting
Library, University of Derby

>>> drewscph@post12.tele.dk 16/10/2004 14:59:43 >>>
The other day they showed a programme about Marie Antoinette in the
television from BBC Prime.
There were two maids standing on each side of the queen, who stood
naked.
They had a plate with powder in front of their mouth, and they blew air
on
the powder so that it got over to the queen.
When the queen had finished, you clearly noticed her footmarks on the
floor.
I have never seen this before, but wondered if this was a comon thing
to do
for upperclass?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk 

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


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Re the 'dart', isn't it possible to slit and remove the excess canvas and
then whip the edges together?  Seems that the shape would still form.
Kathleen
----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 17, 2004 6:39 PM
Subject: Re: [h-cost] Attifet


> At 11:43 AM 10/17/2004 +1000, you wrote:
> >I have a huge roll of buckram sitting in my sewing room - got to use it
> >for something! If I use it for hats, what do I have to do to prevent hats
> >becoming a "mashed mess" if they get wet?
> >Thanks, Aylwen
>
>
> The best way to prevent the hats from getting wet, is to take them off
> during a rain storm. I guess I am lucky that around here our faires are
> usually dry, except for the first spring and last fall one. We are usually
> under canvas when it does rain. And since the hats have feathers that get
> ratty as well when wet (although they dry just fine), we try to take care
> of the hats before the hats get anywhere near "soaked", usually just
> misted, with no mishaps or mashed hats so far. There are a few layers of
> wadding and fabric over the buckram to get through, so minor mists are
> often not a problem. One can also Scotchgard the hats, which usually helps
> repel water. It may however, hasten the decay of fabric in the sun.
>
> However, if rain is a major problem in your area, plastic canvas is a
> decent alternative. I had only not recommended it for the attifet, because
> in one of my patterns, there is a dart that is sewn down the center to
make
> the hat dip in front. I don't know how well the plastic canvas would shape
> along that dart, as I've only done so using buckram.
>
> YMMV of course.
>
>
> Kimiko Small
> Owner ~ DreamTime Studios
> http://www.dreamtime-studios.com
> Fresno, CA, USA
>
> "When there is fear, there is no creativity" ~ C. Lowell
>
> _______________________________________________
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> h-costume@mail.indra.com
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From: Kristalori History <jacquelinejbump@gmail.com>
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Well I've done that and it seems to work. I use either embroidery
floss to stitch sections together (I have a hard time getting the
really large canvas) or fishing line as well. You can also very gently
with a lighter melt the sections together to make sure it stays
together. I don't suggest that for the usual method cause it takes
practice and plus if you do your floss snug enough it won't fall
apart. http://snipurl.com/9uv6 is where I have an example o building a
hat with canvas. It's not an attifet but it shows plastic canvas in a
project.

Bice
On Mon, 18 Oct 2004 08:39:43 -0400, Lloyd Mitchell
<rmitchell@washjeff.edu> wrote:
> Re the 'dart', isn't it possible to slit and remove the excess canvas and
> then whip the edges together?  Seems that the shape would still form.
> Kathleen
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> -----Original Message-----
> From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> Behalf Of Cynthia Virtue
> Sent: Friday, October 15, 2004 6:40 PM
> To: Historical Costume
> Subject: [h-cost] medieval piecing
> 
> 
> Melanie Unruh-Bays wrote:
> 
> > It's true. I have seen, with my own little eye, a Medieval 
> cope of red
> > velvet that had been pieced in every-which-way, without regard to
> > direction of nap. The person or persons who made it didn't 
> even pay much
> > attention to regular-sized or symmetrical piecing. 
> 
> Chicago Institute of Art?  Or maybe there's two of them!
> 
> Also seen there: voided velvet with gold-ground brocade, just like in 
> some of the fancier oil paintings, fuschia silk with gold 
> polka dots.... 
> (http://www.virtue.to/articles/real_fabrics.html) 
> 
That cope sounds like an accurate description of what I saw. I don't know where it "lives" but it was on tour in Denver as a part of an English art exhibition. Although it was the only extant pre-1600 garment in the show, there were a few portraits of interest. The large majority of the show was post-1600, and so I had the luxury of extra time to examine the cope and the pair of somewhat contemporary illuminated pages. Which is fine; I prefer to really study a few pieces, rather than to have to get a sense of a whole bunch. Treasures of the Czars was like that, too. [1]

What I find interesting is that I - being a product of the twentieth century - suggested that naps or one-way designs wouldn't be suitable for the layout that I recommended because it's currently considered proper technique. Even though I *know* that it wasn't necessarily a consideration for medieval tailors, it didn't occur to me as I was writing it. Sometimes I have to remind myself of these things... :-) 

Eirene

[1] BTW, I don't recall the 16th cent. dalmatica in Czars to have been pieced in the same fashion as that English cope. I only wish I could have taken pictures of *that* one!
 

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Subject: [h-cost] Younger Eleonora in red
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Ok...it's at http://geocities.com/brendoken/eleonora.html

This is an old site that I own...there's nothing there but Eleonora
now.

I don't know how long y'all will be able to download the pictures
without overrunning the bandwidth. I did have it loaded on one of the
free sites and it yarked after one look at the hi-rez image (300 ppi).

kate


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In a message dated 10/16/2004 10:35:13 AM Eastern Standard Time, 
suzi@suziclarke.co.uk writes:

> There are pictures and cartoons of hair powder being blown at men in the 
> Richard Corson book from which I quoted. 

Remember that scene in the opening of "Dangerous Liaisons"?
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I sent this over an hour ago and it hasn't shown up yet, so I'm
resending without an active url in case that's the problem.

Ok...it's at (no www, just http://)
geocities.com/brendoken/eleonora.html

 This is an old site that I own...there's nothing there but Eleonora
 now.

 I don't know how long y'all will be able to download the pictures
without overrunning the bandwidth. I did have it loaded on one of the
free sites and it yarked after one look at the hi-rez image (300 ppi).

 kate



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From: "Cindy Abel" <brujne@creighton.edu>
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Date: Mon, 18 Oct 2004 11:58:33 -0500
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Subject: [h-cost] Eleanora of Toledo and her gown
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I caught this show on Sunday night. I started on a version of Elenora's
dress(from Arnold)some years ago and am in the process of redoing it as I've
gained some weight which will probably be around in some form or another
until I hit retirement age if maternal heredity comes out. I also found the
remainder of a matching bolt of fabric and rest of the discontinued braid on
sale so I can do the oversleeves like those on the statue pictured in Arnold
and widen the skirt. My gown is green and a cotton-rayon brocade. I did
build the corset into the gown(ok it is incorrect--but humidity and heat at
the local RenFaire in Iowa has caused even uncorseted females to pass out),
but the gown has handworked eyelet holes--jewelry jump rings of the right
size make marvelous reinforcements on either side of each hole and once
I(finally) got both jump rings aligned and anchored with a few stitches, it
doesn't take too long to have each eyelet done.  Test each eyelet with the
lacing before it is completely finished to make sure your planned lacing
goes through.  I found thin men's dress shoe lacing at lengths long enough
to do all the lacing. (Again, incorrect, but when I first wore the gown a
few years ago, even some SCA members were checking it out and were impressed
that I sewed the thing by hand.).


Question: Is there a biog of Eleanor(a) that exists? The special just had
she was under 5' tall, gave birth eleven times,  came from a wealthy family,
died at about 40, probably of tuberculosis. I located a few websites that
cover some of her portraits and one mentions what we would term a
psychiatric disorder and depression. But I take website info with a grain of
salt unless bibliographic sources are cited. Supposedly, she was supposed to
have died of a broken heart as she died shortly after two of her sons--I
won't give away any more info for those of you on the list who haven't seen
the special yet.

Cindy Abel



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Subject: RE: [h-cost] powdered wigs
Date: Mon, 18 Oct 2004 15:21:52 -0400
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I wonder if that is the origin of our phrase "powder room"? Only now we use it to refer generally
to the restroom.  
I always thought it meant "the place to powder one's nose" but maybe not!

Pax,
::Linda::

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of Kate M Bunting
Sent: Monday, October 18, 2004 7:02 AM
To: h-costume@indra.com
Subject: Re: [h-cost] powdered wigs

I've not heard of blowing powder from a plate. The version I've heard of
is the person going into a "powder closet" with their maid/valet and
having powder puffed onto their hair from some kind of bellows device.

Kate Bunting
Library, University of Derby



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Subject: [h-cost] Virginia 1830 
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Hi all-

Checking in from Lurkville to ask (beg) a little help with a new project. I've recently started to
get more involved with one of the local historic houses here in Virginia.  While the original parts
of the house are early 18th century, the house saw it's -for lack of a better term- heyday in the
1820 to 1850 period.  The board has voted to aim for the 1830's as the decade they want their
docents and helpers to dress in.  I've been looking for several days now, and have run into a few
little snags. One, it seems like there isn't a whole heck of a lot of information around for the
1830's, and what there is seems to be mainly upper class. What I need are images and information on
what a rural river/coastal plantation family in Virginia would be wearing on a daily basis, as work
clothes as well as "Sunday clothes".  These docents are making soap, candles, digging in the
garden, and next summer they will have "History Camp" again. They don't need fancy frills, they
need real work clothes, both male and female.  In addition to clothing patterns and advice, any
recommendations on the general lifestyle of this period would also be most welcome.

Any and all suggestions are greatly appreciated. Thanks!

Pax,
::Linda::

 "And this our life, exempt from public haunt, finds tongues in trees, books in running brooks,
sermons in stones, and good in everything."
-Shakespeare




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Date: Mon, 18 Oct 2004 12:58:42 -0700
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Virginia 1830 
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>1820 to 1850 period.  The board has voted to aim for the 1830's as the 
>decade they want their
>docents and helpers to dress in.

Look for painters active about then.  There were some great rural scenes 
and town street scenes painted about then.  Just don't ask me to name the 
artists.


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

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This is something I know a LITTLE about!
I cannot tell you about Virginia specifically, but I've always thought the 
1830's would be a difficult period to try to show as the styles made a semi 
dramatic change mid decade.

Cotton was huge.  Specifically, printed cottons were extremely popular due 
to the availability and adorability of fabrics from the cotton 
industry.  Printing methods had advanced and there was a wide range of very 
pretty floral cottons.

The gigot sleeve continued in popularity from the previous decade.  This 
was the wide, very puffy sleeve that had been popular at the end of the 
1820's.  This sleeve was sometimes so large it needed to be supported by 
rattan or down (almost like a bustle for the arm) padding.  ( I can't 
imagine wearing these down filled pads in Virginia in the summer!) The 
sleeve grew larger and larger (it sometimes was called the "imbecile" - one 
can only imagine why).

The semi-dramatic change came when, in 1836, the sleeve suddenly 
"collapsed".  At this point women unattached their sleeves from their 
dresses and used a variety of treatments (smocking, gathering, tucking, 
pleating, banding) to bring the very full sleeve to a tight fitting sleeve 
around the upper arm.  I have been collecting images from all different 
sources of these imaginative sleeve treatments for several years now.

So, I would suggest that you need to find out if you will be presenting the 
time before 1836 or after.

As a basic pattern source and good beginning, I would highly recommend you 
obtain a copy of Past Patterns Lowell Mill pattern, if you haven't already. 
There's some really good research information included with the pattern.

I don't know how close you are to D.C. but the Smithsonian has some very 
nice examples of this period in their collection.  I'm sure there are a 
million other museums in the area that do as well.

  It sounds like a really fun project.
Dawn


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Subject: [h-cost] So many years out of fashion...
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Hi everyone,

     There's a list we all saw back in Costume History class, it was how
many years since a fashion is introduced and how it's viewed by
people.  I remember it as being something like

One day - avant garde
One month - smart
One year - dowdy
Two years - hideous
and goes on until
150 years - beautiful

     Does anyone have this list and would you either post a link to a
website or otherwise let me know where I can find it?  I don't know
which historian came up with it, but I first saw it in the late 70s.

     The reason I'm asking - in my department every Friday, they have an
Ugly Shirt contest.  So far I have only seen one actual ugly shirt. 
I think my interest in costume history has led me to have an
appreciation for all eras, and I completely  lost the idea that
clothing of a certain age should be considered unattractive.  Instead
I'm seeing cool vintage wear on Fridays.  Oh the humanity!

     Thanks!
     -Carol
_______________________________________________
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] Virginia 1830 
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In a message dated 10/18/2004 4:05:59 PM Eastern Standard Time, 
kayta@frys.com writes:

> Look for painters active about then.  There were some great rural scenes 
> and town street scenes painted about then.  Just don't ask me to name the 
> artists.
> 

And when doing this don't forget those wonderful "primitive" rural paintings. 
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In a message dated 10/18/2004 4:22:02 PM Eastern Standard Time, 
dluckham@sympatico.ca writes:

> As a basic pattern source and good beginning, I would highly recommend you 
> obtain a copy of Past Patterns Lowell Mill pattern, if you haven't already. 
> There's some really good research information included with the pattern.

Indeed! I'd say rich or poor, the basic cut of a gown or coat is the same. 
It's the details and fabric that make the difference. 

I remember a dress I found in a junk shop here in NC was 1830s....all hand 
sewn...slightly high waist very full sleeves with 4 or 5 rows of ruching at the 
top maybe a quarter of an inch apart, and a 6" or so wide conical cuff the 
bottom gathered into. The dress was of medium weight white cotton with indigo 
flowers spotted all over very far apart. The bodice was gathered to the self 
fabric waistband front and back. The lining had two long, deep darts at an angle 
that went higher than bust point each side of CF. It closed CF with little 
brass hooks and thread bars that were lost in the gathers. The attached skirt 
closed CF too. The skirt was short-ish....maybe 38" to the hem and only about 3 
1/2 yards around. It was very beautiful but very plain and showed signs of wear.

I remember all this because I was gonna buy it from the clueless seller for 
the $60 she was asking. I had zero money and asked my Father if I could have 
$60. "What for?" "A dress" "NO!". I got funds from elsewhere but in the hour 
that took, it was gone....damnit!

>  It sounds like a really fun project.
> Dawn
> 

Yes indeed it does. Have fun!
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] So many years out of fashion...
Date: Mon, 18 Oct 2004 15:52:47 -0500
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I believe this was in one of James Laver's books on costume history. Can't
recall which one.  I think the list is slightly different from yours--one
year ahead = avant garde/ six months = ugly /same year = a la mode/ one year
= dowdy etc.

This listing might be out-of-date as today's fashion can go from avant garde
to hideous in one year or less and a fashion can return to the catwalks as
new and beautiful within a dozen years.  If the old fashion mantra held
true, we'd be in 1854 fashions right now....well, guess we are--a little bit
with fuller skirts and cinched waists being permitted as a fashion option.
Looking forward twenty years for the return of the bustle.  "Does this dress
make my butt look big...enough?"

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of aquazoo@patriot.net
Sent: Monday, October 18, 2004 3:20 PM
To: Historical Costume
Subject: [h-cost] So many years out of fashion...



Hi everyone,

     There's a list we all saw back in Costume History class, it was how
many years since a fashion is introduced and how it's viewed by
people.  I remember it as being something like

One day - avant garde
One month - smart
One year - dowdy
Two years - hideous
and goes on until
150 years - beautiful

     Does anyone have this list and would you either post a link to a
website or otherwise let me know where I can find it?  I don't know
which historian came up with it, but I first saw it in the late 70s.

     The reason I'm asking - in my department every Friday, they have an
Ugly Shirt contest.  So far I have only seen one actual ugly shirt.
I think my interest in costume history has led me to have an
appreciation for all eras, and I completely  lost the idea that
clothing of a certain age should be considered unattractive.  Instead
I'm seeing cool vintage wear on Fridays.  Oh the humanity!

     Thanks!
     -Carol
_______________________________________________
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] So many years out of fashion...
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     Thanks, I'll see if I can track down a copy!  I was just going by
what I could remember and didn't figure it was accurate to the
original. :-)

     I'm curious if there is an "ugly" time according to Laver so I can
better appreciate Ugly Shirt Friday.

     -Carol


> I believe this was in one of James Laver's books on costume history. Can't
> recall which one.  I think the list is slightly different from yours--one
> year ahead = avant garde/ six months = ugly /same year = a la mode/ one
> year = dowdy etc.
>
> This listing might be out-of-date as today's fashion can go from avant
> garde to hideous in one year or less and a fashion can return to the
> catwalks as new and beautiful within a dozen years.  If the old fashion
> mantra held true, we'd be in 1854 fashions right now....well, guess we
> are--a little bit with fuller skirts and cinched waists being permitted as
> a fashion option.  Looking forward twenty years for the return of the
bustle.
>  "Does this dress make my butt look big...enough?"
>
> Cindy Abel

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Subject: Re: [h-cost] So many years out of fashion...
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Maybe, if you like the shirts, you could just ask to buy them cheap if 
the owners think they are so ugly!

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com

>  
>
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Subject: Re: [h-cost] So many years out of fashion...
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     Even though they think the shirts are ugly, they have an interest in
wearing the ugliest one, so they may not let them go cheap.  One guy
even bought a new shirt he thought was ugly.  also if I bought them
up I would deprive myself of the fashion parade, though I'm sure they
would find more...

     Meanwhile has anyone seen the prices on "vintage" T-shirts?  I don't
know where 20-25 years falls on the James Laver scale...


> Maybe, if you like the shirts, you could just ask to buy them cheap if
> the owners think they are so ugly!
>
> Fran
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From h-costume-bounces@indra.com  Mon Oct 18 18:37:46 2004
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Date: Mon, 18 Oct 2004 23:34:44 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] So many years out of fashion...
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I'm getting to the point where I don't know what I'm seeing - is this a 
revival of the 40's, or a revival of the 80's revival of the 40's?  The 
circle is no longer chasing its tail, it's chasing the back of its neck!

Jean


Cindy Abel <brujne@creighton.edu> wrote
>I believe this was in one of James Laver's books on costume history. Can't
>recall which one.  I think the list is slightly different from yours--one
>year ahead = avant garde/ six months = ugly /same year = a la mode/ one year
>= dowdy etc.
>
>This listing might be out-of-date as today's fashion can go from avant garde
>to hideous in one year or less and a fashion can return to the catwalks as
>new and beautiful within a dozen years.  If the old fashion mantra held
>true, we'd be in 1854 fashions right now....well, guess we are--a little bit
>with fuller skirts and cinched waists being permitted as a fashion option.
>Looking forward twenty years for the return of the bustle.  "Does this dress
>make my butt look big...enough?"
>
>Cindy Abel
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
>Behalf Of aquazoo@patriot.net
>Sent: Monday, October 18, 2004 3:20 PM
>To: Historical Costume
>Subject: [h-cost] So many years out of fashion...
>
>
>
>Hi everyone,
>
>     There's a list we all saw back in Costume History class, it was how
>many years since a fashion is introduced and how it's viewed by
>people.  I remember it as being something like
>
>One day - avant garde
>One month - smart
>One year - dowdy
>Two years - hideous
>and goes on until
>150 years - beautiful
>
>     Does anyone have this list and would you either post a link to a
>website or otherwise let me know where I can find it?  I don't know
>which historian came up with it, but I first saw it in the late 70s.
>
>     The reason I'm asking - in my department every Friday, they have an
>Ugly Shirt contest.  So far I have only seen one actual ugly shirt.
>I think my interest in costume history has led me to have an
>appreciation for all eras, and I completely  lost the idea that
>clothing of a certain age should be considered unattractive.  Instead
>I'm seeing cool vintage wear on Fridays.  Oh the humanity!
>
>     Thanks!
>     -Carol
>_______________________________________________
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-- 
Jean Waddie
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From h-costume-bounces@indra.com  Mon Oct 18 18:46:22 2004
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Subject: Re: [h-cost] Victorian corset patterns
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I haven't tried the Mantua Maker's one, unfortunately.
A lot of people swear by Laughing Moon's pattern, but I haven't been as 
happy with it. I was making a corset for a friend of mine who is 
naturally curvy to begin with and even with the bust and hip gores it 
seemed to just flatten out her curves rather than accentuate them. I 
like the Past Patterns #213 Victorian corset. the shape is closer to 
1880's  and gives a nice hourglass shape, even on me

-Gwen

rreed@indirectobject.com wrote:

>Hi there,
>
>I would like to find out if anyone has had experience with the
>Mantua-Maker's 1870-1895 corset pattern?  Are there any better patterns out
>there for this era?
>
>Thanks,
>Becky
>
>_______________________________________________
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>
>  
>


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I think style recycling has sped up since Laver's day.  The fashion 
industry is reviving the 1950s and 1960s both at once, and even making 
hints at the 70s.  They're going to run out of eras at this rate.

I've never bought a real vintage T-shirt, but I have a weakness for 
modern T-shirts with misty prints of old magazine and sheet music 
covers.  What modern clothing manufacturers think is a hippie T-shirt.

My new vintage enthusiasm is furs.  (Well, it's not entirely new, but 
it's more intense than usual.)  Most of the time, you can get a used 
fur  in very good shape_much_ cheaper than a new fur. It's like every 
middle-class matron in the 1950s and 1960s had at least one mink stole. 
(Some matrons, judging from what eBay sellers say about estates they 
bought, had several furs.)  And now those furs are all over eBay.  Mink 
is really durable if kept well.  And it's a rather short-haired fur, so 
it doesn't make you look like a furball, which is a problem I have with 
very long furs if used in quantity.  San Francisco is too warm for fur 
coats, so I'm looking for stoles and cropped jackets.

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com


aquazoo@patriot.net wrote:

>   
>
>     Meanwhile has anyone seen the prices on "vintage" T-shirts?  I don't
>know where 20-25 years falls on the James Laver scale...
>
>  
>
>  
>
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>
> At 04:14 PM 10/15/2004 -0400, you wrote:
> > > > could this be the one you are thinking of:
> > > > http://www.marileecody.com/francis.jpg
> > > > Doesn't give a variety of views, but there is the back view of the
> > > > boys in front.
> >
> >My account has been off-line (ISP "seamless transition") so I don't know
> >if this was answered before -- and idea of who painted this painting?
> >
> >Thanks.
> >Jerusha
>
>
> My books don't state who the painter was.

Ah, yes.  As we refer to "him" at my house -- it was done by the
famous "Algernon Nonymous" more comonly known as A. nonymous .....

Thanks for checking!

Jerusha
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From: Susan Farmer <sfarmer@sabre.goldsword.com>
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To: h-costume@indra.com
Subject: Re: [h-cost] The Medici Family
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>
> > two I had seen before, although I don't have an image of her looking thin. 
> > However, the third image, of her in a dark red dress, with what appeared to 
> > be a dark red surcoat and a high open standing collar partlet, was one I had 
> > never seen before. Would someone here be familiar with this image, and know 
> > where I can find a copy I can look at better?
>
>  	Is this the one?
> http://www.songsmyth.com/1560italian/elenorabronzinoc1560.jpg
>
>  	It's not very big but the page it's from 
> (http://www.songsmyth.com/1560italian.html) says it's by Allori c. 1560 
> and it's in the Hermitage Museum.

I think that she has her captions reversed on the last two images in
that row.  The file name on the middle image is "eleanorabronzinoc1560.jpg"
and the other one is identified -in the file name- as Allori.

Jerusha
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> At 09:01 PM 10/17/2004 -1000, you wrote:
> >>two I had seen before, although I don't have an image of her looking 
> >>thin. However, the third image, of her in a dark red dress, with what 
> >>appeared to be a dark red surcoat and a high open standing collar 
> >>partlet, was one I had never seen before. Would someone here be familiar 
> >>with this image, and know where I can find a copy I can look at better?
> >
>
> Thanks so much for your search, but this is the one where she looks thin. I 
> only caught a headshot of this image (or maybe I didn't pay much attention 
> at that time, I was cooking), but this isn't the one I am looking for. I 
> didn't realize she wore red in this dress as well.
>
> The one I am looking for she's healthy looking, and the collar on her 
> partlet was standing pretty high, had pleats along the edges, and appeared 
> to be smocked or something inside the partlet with beading. I wish I could 
> hack our TiVo for the image, but it's the oldest version, so it would ruin 
> our warranty or something. Ah, for a series 2, so I could download it onto 
> the computer.

I bet maybe it's this image
<http://www.goldsword.com/sfarmer/SCA/Paintings/bronzinoMaybe_EleanoreToledo-aclist.jpg>

It's the centerpiece is a wall of paintings!

Jerusha
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Subject: Re: [h-cost] So many years out of fashion...
Date: Mon, 18 Oct 2004 20:44:41 -0400
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On Monday 18 October 2004 4:20 pm, aquazoo@patriot.net wrote:
[snip]
> I think my interest in costume history has led me to have an
> appreciation for all eras, and I completely  lost the idea that
> clothing of a certain age should be considered unattractive.  

With, IMHO, the possible exception of shirts from the 1970s.  I cannot 
remember some of the clothes I wore with pride back then without 
wincing.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: OSV Re: [h-cost] Virginia 1830 
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Old Sturbridge Village, Sturbridge, Massachusetts,
1830's rural New England, an outdoor living history
museum--clothes & living both.

http://www.osv.org/

--- Linda Rice <vmaa2@cox.net> wrote:

> 1830's as the decade they want their
> docents and helpers to dress in.  
> ::Linda::



		
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: OSV Re: [h-cost] Virginia 1830 
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>Old Sturbridge Village, Sturbridge, Massachusetts,
>1830's rural New England, an outdoor living history
>museum--clothes & living both.

I've heard about Conner Prarie too, someplace in the "Midwest".  IIRC they 
do early 1800s. www.connerprairie.org

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

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Date: Mon, 18 Oct 2004 18:38:49 -0700
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Younger Eleonora in red
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At 11:45 AM 10/18/2004 -0400, you wrote:
>Ok...it's at http://geocities.com/brendoken/eleonora.html
>
>This is an old site that I own...there's nothing there but Eleonora
>now.
>
>I don't know how long y'all will be able to download the pictures
>without overrunning the bandwidth. I did have it loaded on one of the
>free sites and it yarked after one look at the hi-rez image (300 ppi).
>
>kate


Hello Kate,

Oh, yes, that's it!!! Thank you thank you thankyou!!

I tried to download the 5 meg image (300 dpi) as I wanted to see parts of 
the image up close (like that lovely partlet), but I am unable to access it 
through the web site. However, when I try to access it, geocities is 
stating that the image is unavailable, probably what you mentioned about 
it's file size. If you are willing and have the upload speed, can you email 
me the larger image privately? (kimiko at kimiko1 dot com) I have DSL and 
my own server space, so I should be able to access the image ok via e-mail. 
If not, don't worry about it. You have given me enough info to track the 
image in book format.

Thanks so very much.

Kimiko


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Hi Linda,

You might want to make a trip to Richmond to the Virginia State Library.  It is now located next to city hall.  They have a wealth of information about the state.  You might also want to check into their genealogical records.  They copy photos of paintings, diaries, etc. from people researching their family's history and stores them on in an area of the Library.  You do not need to be a family member to pull the records. 

Another place you might want to research is the Virginia Historical Society on the Blvd. in Richmond.  They also have a wealth of information.  

I do recall hearing that the tidewater area for a long time in the state's history that THE place to live for a long time because of the rich soil for farming.  Virginia has a lot of historical societies, and does not just keep up with society people.  If Charlene B. is still on h-costume, she knows a lot about the state's history and landowners.  She researches professionally land titles all over VA for title companies.  She could probably give you some insight as to where to research.

I know the Valentine Museum has a massive image collection.  Unfortunately they no longer have  curators for the image or costume collections. 

And if you come to Richmond, you do have to go to lunch or dinner with me!  I haven't seen you in a long time. 

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Eleanora of Toledo and her gown
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Status: RO

Eleanora is so hard to find out anything about!  I did several searches, and
came up mostly with stuff on her husband.  Oh well, I guess it really is
"HIS"tory.  

Anyway, Dr. Brier is one of my favorite archaeologists, and I was happy to
hear he was on this special.  The TLC article did say the clothing they
found would be examined further.  The show is on again a few more time on
TLC over the next week or so.

Becky

-----Original Message-----



Question: Is there a biog of Eleanor(a) that exists? The special just had
she was under 5' tall, gave birth eleven times,  came from a wealthy family,
died at about 40, probably of tuberculosis. I located a few websites that
cover some of her portraits and one mentions what we would term a
psychiatric disorder and depression. But I take website info with a grain of
salt unless bibliographic sources are cited. Supposedly, she was supposed to
have died of a broken heart as she died shortly after two of her sons--I
won't give away any more info for those of you on the list who haven't seen
the special yet.

Cindy Abel


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Date: Tue, 19 Oct 2004 12:23:59 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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 Re: [h-cost] Henry VIII and Tudor sleeves

> >His hose should be pointed to it around the waist (to hold them up) -
> >that would prevent it (the doublet) from riding up
> 
> I do know what *should* be, but you try telling that to a customer who
is 
> having problem getting hose in the first place. In fact the portrait
seems 
> to indicate stockings rolled over a garter, rather than full length
hose. 

Trunk hose and seperate lower hose, yep, makes sense.

> He also wanted the trunk hose to fasten with a cod piece and with
points, 
> but not to the doublet, as he was doing a lot of archery
demonstrations, 
> and found the "laced-up" thing rather restricting, especially with the
big 
> coat as well as everything else!!
> 
> Me, I just do what I'm paid for, after giving advice, naturally <g>

Yep - and with a paying customer, what they want is what they want.... 

Though,  I'm sure I remember something in Arnold about hooks and eyes
repla cing points for fastening the trunks tot he doublet waist later in
the period (isn't there a photo on Patterns of Fashion showing where a
later hook has been sewn to the eyeletted waist -strip inside a
surviving doublet?) Perhaps that would be an acceptable solution for
future customers who want to avoid the whole untying and retying hassle
(and it *is* a hassle)...?

Teddy
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Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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>
> > >His hose should be pointed to it around the waist (to hold them up) -
> > >that would prevent it (the doublet) from riding up
> >
> > I do know what *should* be, but you try telling that to a customer who
>is
> > having problem getting hose in the first place.
>
> > He also wanted the trunk hose to fasten with a cod piece and with
>points,
> > but not to the doublet, as he was doing a lot of archery
>demonstrations,
> > and found the "laced-up" thing rather restricting, especially with the
>big
> > coat as well as everything else!!
>
>Though,  I'm sure I remember something in Arnold about hooks and eyes
>repla cing points for fastening the trunks tot he doublet waist later in
>the period (isn't there a photo on Patterns of Fashion showing where a
>later hook has been sewn to the eyeletted waist -strip inside a
>surviving doublet?) Perhaps that would be an acceptable solution for
>future customers who want to avoid the whole untying and retying hassle
>(and it *is* a hassle)...?

I have tried this, but it is just as restricting, as there is virtually no 
"give". However, if you do it theatrically, with the hook on a piece of 
narrow elastic - well there you go!

Suzi (who does authentic and theatrical both in the same costume if it works!!)


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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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> At 11:10 AM 10/14/2004 +0100, you wrote:
> >- Jerkin (in this case U-fronted) (Could be sleeveless, short-sleeved

> >or have complete sleeves of its own)with bases
> 
> 
> Ah, so that's a jerkin in this time period. More familiar  with
jerkins in 
> Elizabethan styles. Thanks for the clarification of terms.

Actually, I have no idea what it was actually called in this period, but
used "Jerkin" as the word most people were likely to recognize without
my having to put in a long explanation of what garment I meant.

Sorry.

Teddy 
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Date: Tue, 19 Oct 2004 12:43:55 +0100
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] Circle cut bases (WAS:Henry VIII and Tudor sleeves)
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> At 11:23 AM 10/14/2004 +0100, you wrote:
> > I also made the bases from a pair of 
> > half circle, but felt that there needed to be more material in them
for 
> >cartridge pleats, and would probably make it 3/4 circles if I had to
make 
> >another.

> I created my husband's base from the two pairs of half circles, but I 
> followed another person's directions for what she called "organ
pleats", 
> which are not the same as cartridge pleats as I know them  (Norris
noting 
> otherwise). I did them as an experiment in how this type of  pleats
would 
> look using a non-wool base.

<SNIP>

> However, I think I will try box pleating on the circle or gored skirt
to 
> see if the effect is closer to the portraits I have.

I've been thinking about this and I think (as far as the fullness and
the look of fullness is concerned) it could depend on the type of circle
you use... I know that sounds strange, but consider this - if you use a
circle-cut skirt  (whihc is basically dough-nut shaped, a circle with a
hole in the middle of it) where the inner edge is exactly the waist
measurement of the doublet/jerkin, the skirts would look too "skimped"
because the flare involves so little fabric to begin with.... whereas,
if you used a circle where the inner edge is big enough that it would
need some form of pleating to make it small enough to fit the
doublet/jerkin waist, the amount of fullness as much greater (in other
words, a bigger dough-nut - a bigger circle with a bigger hole cut from
the middle)

Of course, now that this has occutred to me, it seems *obvious* but it
has literally only just occured to me - DOH!

Teddy


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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] Henry VIII and Tudor sleeves
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> > Naturally, he would have his braes, tunk-hose and lower-hose on his 
> > lower half...<g>
> 
> I know I have heard of braes before, but I am not picturing this in my

> mind, at least with regards to Tudor wear. Trunk hose and lower hose,
that 
> I understand.
> 
> So, would you mind describing braes in this context for me, please?

Period equivalent of modern pants (or, to Americans, "undershorts")

Braes is the term I'm used to from 14th &15th century costuming, though
I'm uncertain if it's an all encompassing term from the period or
whether (much as "cotehardie" is often used to mean "gothic fitted
gown") it has just caught on and become a generic catch-all label for
mens underwear when several different terms would have really been used
in different 14th/15th century periods and places periods and places.

Teddy
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Need leads on suppliers, 19th-early 20th c.
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A friend of mine is a curator at a small history museum in New England.
She wrote me this:

"Do you have a favorite sutler company? I'm trying to order some supplies
for some history kits and can't remember where I used to get stuff.  I
need things like a butter churn, tin whistle, bullets, powder horn, etc."

When I asked for more details, she added:

"I'm trying to put together some artifact kits.  The one I'm actually
having the most trouble with is one on Immigration in the late 19th/early
20th century.  I need to find reproductions of items such as carpetbags;
perhaps some items that might have been carried over by a Jewish family;  
and some items that might have been brought by a Chinese family to
California.  So, hmmm.  It's items of general household use at that time
period as well as cultural items."

I don't do anything later than medieval, but I bet there are some people
on this list that can recommend some vendors who specialize in
re-enactment accessories for 19th-early 20th c. that would have some of
these things.

Pointers to any website links lists to such vendors would be great too.

I'll pass all on to my friend.

--Robin

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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: [h-cost] Granada television's "Henry VIII" coming to PBS
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 Just to check out the costumes alone(always great fun in watching
historical films and miniseries--There should be a History Theatre 3000 in
the footsteps of Mystery Science Theater 3000 for this group!): last year's
Granada Television's "Henry VIII is coming over to the west side of the pond
via Masterpiece Theatre on PBS this November. According to the PBS website,
it is scheduled for Sunday, Nov 7th and 14th. So set those VCRs or wait and
buy the DVD available Nov 16th.

Cindy Abel

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Subject: Re: [h-cost] Need leads on suppliers, 19th-early 20th c.
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You could try Thickity Creek. http://thickitycreek.com/

B
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Subject: Re: [h-cost] Need leads on suppliers, 19th-early 20th c.
From: Lynn Downward <ldownward@chori.org>
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Cat Slater in Los Angeles has some roomy, great looking carpet bags; some
even have a space on the outside for a parasol. This contact info is from
the Costume College website:

Z'ETIQUETTE: Cat Slater & Laurie McGee
 2524 Fourth Avenue, Los Angeles, CA 90018
 Phone: (323) 733-3964; Email: blukitty@earthlink.net
Z'Etiquette custom-makes Victorian carpetbags and accessories, parasol
cozies, and additionally sell parasols, hatpins, and other delights.
 
Best of luck to your friend in her searches.
LynnD


> From: Robin Netherton <robin@shell.nightowl.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Tue, 19 Oct 2004 12:10:59 -0500 (CDT)
> To: Historic Costume List <h-costume@indra.com>
> Subject: [h-cost] Need leads on suppliers, 19th-early 20th c.
> 
> 
> A friend of mine is a curator at a small history museum in New England.
> She wrote me this:
> 
> "Do you have a favorite sutler company? I'm trying to order some supplies
> for some history kits and can't remember where I used to get stuff.  I
> need things like a butter churn, tin whistle, bullets, powder horn, etc."
> 
> When I asked for more details, she added:
> 
> "I'm trying to put together some artifact kits.  The one I'm actually
> having the most trouble with is one on Immigration in the late 19th/early
> 20th century.  I need to find reproductions of items such as carpetbags;
> perhaps some items that might have been carried over by a Jewish family;
> and some items that might have been brought by a Chinese family to
> California.  So, hmmm.  It's items of general household use at that time
> period as well as cultural items."
> 
> I don't do anything later than medieval, but I bet there are some people
> on this list that can recommend some vendors who specialize in
> re-enactment accessories for 19th-early 20th c. that would have some of
> these things.
> 
> Pointers to any website links lists to such vendors would be great too.
> 
> I'll pass all on to my friend.
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Tue Oct 19 13:47:57 2004
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Subject: Re: [h-cost] Need leads on suppliers, 19th-early 20th c. CAVEAT
From: Lynn Downward <ldownward@chori.org>
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Robin,
I should say that I don't know if these are exact reproductions of 19C
carpetbags or if they are carpetbags made to look good enough to take to a
recreation event. Your friend should definitely check that with the company.
I've seen them and think they're wonderful, but I don't know enough about
European carpetbags and luggage to say that these are reproductions.

LynnD 


I wrote:
Cat Slater in Los Angeles has some roomy, great looking carpet bags; some
even have a space on the outside for a parasol. This contact info is from
the Costume College website:

Z'ETIQUETTE: Cat Slater & Laurie McGee
 2524 Fourth Avenue, Los Angeles, CA 90018
 Phone: (323) 733-3964; Email: blukitty@earthlink.net
Z'Etiquette custom-makes Victorian carpetbags and accessories, parasol
cozies, and additionally sell parasols, hatpins, and other delights.
 
Best of luck to your friend in her searches.
LynnD


> From: Robin Netherton <robin@shell.nightowl.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Tue, 19 Oct 2004 12:10:59 -0500 (CDT)
> To: Historic Costume List <h-costume@indra.com>
> Subject: [h-cost] Need leads on suppliers, 19th-early 20th c.
> 
> 
> A friend of mine is a curator at a small history museum in New England.
> She wrote me this:
> 
> "Do you have a favorite sutler company? I'm trying to order some supplies
> for some history kits and can't remember where I used to get stuff.  I
> need things like a butter churn, tin whistle, bullets, powder horn, etc."
> 
> When I asked for more details, she added:
> 
> "I'm trying to put together some artifact kits.  The one I'm actually
> having the most trouble with is one on Immigration in the late 19th/early
> 20th century.  I need to find reproductions of items such as carpetbags;
> perhaps some items that might have been carried over by a Jewish family;
> and some items that might have been brought by a Chinese family to
> California.  So, hmmm.  It's items of general household use at that time
> period as well as cultural items."
> 
> I don't do anything later than medieval, but I bet there are some people
> on this list that can recommend some vendors who specialize in
> re-enactment accessories for 19th-early 20th c. that would have some of
> these things.
> 
> Pointers to any website links lists to such vendors would be great too.
> 
> I'll pass all on to my friend.
> 
> --Robin
> 
> _______________________________________________


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Date: Tue, 19 Oct 2004 15:26:05 -0400 (EDT)
From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Victorian corset patterns
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On Mon, 18 Oct 2004, Gwen Kachelmyer wrote:

>I haven't tried the Mantua Maker's one, unfortunately.
>A lot of people swear by Laughing Moon's pattern, but I haven't been as
>happy with it. I was making a corset for a friend of mine who is
>naturally curvy to begin with and even with the bust and hip gores it
>seemed to just flatten out her curves rather than accentuate them. I
>like the Past Patterns #213 Victorian corset. the shape is closer to
>1880's  and gives a nice hourglass shape, even on me

I agree with this assessment.  A friend gave me a Laughing Moon Dore
corset (it is wonderful pale blue silk with bobbin lace, and was a bit
big for her in the bust, lucky me), which is lovely, fits well in the
bust (though the pattern seems to run large), but it is very smooth on
the hips, and really flattens the stomach; as a result it cannot fit my
waist as well as I would on the Past Patterns 213, which is very curvy
and is great for a figure like mine with large bust and hips and much
smaller waist.  The Laughing moon corset does give a nice smooth hip and
tummy line under 1890's skirts though, (a problem with PP213 as it is a
fairly short corset so it does not cover the hips well), but if you want
silhouette with a definite cinched waist I would recommend Past Patterns
213.

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: [h-cost] Laver Quote
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     I found it!  The Laver quote is on this page:
http://mazalin.com/tqm/fashion.shtml

     And other cute clothing quotes are here:
http://www.quotegarden.com/clothing.html

     -Carol
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Subject: RE: [h-cost] Virginia 1830's
Date: Tue, 19 Oct 2004 17:07:40 -0400
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Wow Dawn, this is great- thanks! I did take a look at the Conner Prairie site, and the clothing
essay there was very explicit about cotton being _not_ common, it was labeled as a luxury fabric.
They claimed wool and linen were common, with silk and cotton being "rich". Funny, I thought I
remembered that by the 1830's cotton was very much "King" in the south. Will have to go read more
about that I guess. 

I'll forward your post to the director so she can read what you said about sleeves and the
mid-decade changes. It's gonna blow her mind, because right now she's convinced that all the
"working women" should be running around in their shifts and aprons! Oy!  

You said that printed cottons were big. What about checks, plaids and stripes? Which colors were
most popular, and which colors are just wrong? 

I will track down the Lowell's Mill pattern, thanks for the tip. I'm about 3 1/2 hours from D.C.-
so a weekend trip to the Smithsonian isn't impossible. 

Thanks for the help!

::Linda::


 On Behalf Of Dawn Luckham
Subject: [h-cost] Virginia 1830's

This is something I know a LITTLE about!
I cannot tell you about Virginia specifically, but I've always thought the 
1830's would be a difficult period to try to show as the styles made a semi 
dramatic change mid decade.

Cotton was huge.  Specifically, printed cottons were extremely popular due 
to the availability and adorability of fabrics from the cotton 
industry.  Printing methods had advanced and there was a wide range of very 
pretty floral cottons.

{snippage of much great info}

So, I would suggest that you need to find out if you will be presenting the 
time before 1836 or after.

As a basic pattern source and good beginning, I would highly recommend you 
obtain a copy of Past Patterns Lowell Mill pattern, if you haven't already. 
There's some really good research information included with the pattern.

I don't know how close you are to D.C. but the Smithsonian has some very 
nice examples of this period in their collection.  I'm sure there are a 
million other museums in the area that do as well.

  It sounds like a really fun project.
Dawn



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Thanks Albert, for the moral support. I'm going to keep the description you wrote, I'm sure it will
help. Believe me, as I get deeper into this, I'm gonna have tons of questions! 

In the mean time, maybe you all would like to see a picture of the house? (not my website)
http://www.carolshouse.com/structures/ferryfarm/
They have recently been awarded a substantial grant, so the front porch is scheduled to be removed
next month to try and return the house to its original configuration. The side porches will be
reworked, although I don't think they'll be able to match the original stucco work- it was made
from oyster shells.

The director swears that there are 12 ghosts in this house- 11 people and 1 cat!  

Pax,
::Linda::

On Behalf Of AlbertCat@aol.com
Sent: Monday, October 18, 2004 4:51 PM
Subject: Re: [h-cost] Virginia 1830's

Indeed! I'd say rich or poor, the basic cut of a gown or coat is the same. 
It's the details and fabric that make the difference.

dluckham@sympatico.ca writes:
> As a basic pattern source and good beginning, I would highly recommend you 
> obtain a copy of Past Patterns Lowell Mill pattern, if you haven't already. 
> There's some really good research information included with the pattern.





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Doh! Why didn't I think of that first! Thanks Carolyn, I don't mind browsing the art sites. (for
hours and hours and hours!)

::Linda::

From: h-costume-bounces@indra.com
 On Behalf Of Carolyn Kayta Barrows
Subject: Re: [h-cost] Virginia 1830 

Look for painters active about then.  There were some great rural scenes 
and town street scenes painted about then.  Just don't ask me to name the 
artists.

        CarolynKayta Barrows

>1820 to 1850 period.  The board has voted to aim for the 1830's as the 
>decade they want their
>docents and helpers to dress in.




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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Victorian corset patterns
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--- Katy Bishop <vintage@shore.net> wrote:

> On Mon, 18 Oct 2004, Gwen Kachelmyer wrote:
> 
> >I haven't tried the Mantua Maker's one,

I have had pretty good luck with the Mantua Maker's
mid/late 19th century corsets pattern.

I had to make more than one pair of corsetsto have it
fit, but it was my first corsets & I'm different sizes
on top & bottom.
And I can dance a polka in them.

Ann in CT


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To: Historical Costume <h-costume@indra.com>
From: Dawn Luckham <dluckham@sympatico.ca>
Subject: RE: [h-cost] More Virginia 1830's
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At 05:07 PM 19/10/2004 -0400, you wrote:

>  [I did take a look at the Conner Prairie site, and the clothing
>essay there was very explicit about cotton being _not_ common, it was 
>labeled as a luxury fabric.]

Well, I think the Lowell Mill research would disagree as they suggest that 
the girls who worked in the factories were able to purchase at least one 
new cotton dress each year.


>[ she's convinced that all the
>"working women" should be running around in their shifts and aprons! Oy!]

The shift and petticoat and shortgown thing (I'm not sure exactly when they 
started to call it a "sack") was still worn as very, very casual.  That is 
on the farm, at home, when pregnant.  However, more and more women wore one 
piece dresses with petticoats underneath.

>[You said that printed cottons were big. What about checks, plaids and 
>stripes? Which colors were most popular, and which colors are just wrong?]

There is a blue checked work dress in the Smithsonian, but I think it's 
dated 1840.  I have several images of plaid and checked dresses in reds and 
blues.  There is a lovely hunter green gown in the Kent State University 
collection.  Small florals on a light or dark background (dark would be 
better for work wear as it shows the dirt less) I have images of actual 
gowns in gold and teal, cream and brown, brick red.  Vintage Textile sold a 
red plaid gown that was amazing with bias work and tucking. I've got 
fashion plates that show all colours of green and some mauve and lilac 
colours.  The only colour that I can think of that was used in moderation 
was cobalt blue.  You do see it in the floral prints but I think it was 
still hand applied at this time (? not entirely sure about that one without 
checking my notes).  Brilliant pinks and magenta were not yet available.

Construction notes:  Back fastening gowns seem to be more popular than 
front closures.  When a front closure exists, it's often hidden.  Hooks and 
eyes or hooks and loops or eyelets were often used.

Almost all bodice seams were piped. They were piped around armholes and 
side seams and princess seams and necklines and waistlines....you get the 
idea :-)

Some books to look at:

Fashion - The collection of the Kyoto Costume Institute printed by Taschen
English Women's Clothing in the Nineteenth Century by C. Willett Cunnington
(I realize it's "English", but it will give a really good idea of the 
"fashion" of the time.
This next recommendation may be difficult for you to locate, but if you 
can, it's not great on pictures (although there are drawings) but it has a 
lot of good information. It's part of a series called, "The Cut of Women's 
19th Century Dress" by Eileen Collard (She's a Canadian, which is why it 
may be difficult for you to locate the book.)  The volume you should look 
for is in two parts (now printed together) Part 1: "The Vertical Epoch, c. 
1800-21" and Part 2 "Romance and Sentiment", c 1822-39 .  I've seen some of 
the gowns she mentions in her book at the Joseph Brant museum in 
Ontario.  They are lovely, simple cotton
gowns.
Jean Hunnisett's Period Costume for Stage and Screen will give you grid 
patterns that you can scale up.  You can create endless variations with her 
book.  You will need someone who can figure out how to resize patterns and 
scale the grid up.  All of her patterns are for a size 12.

Web site you should check out if you haven't already:  Sense and Sensibility.
http://www.sensibility.com/mainpage.htm
She makes a "Romantic period" pattern that would suit you.  Bonus: she also 
has tons of on line help.

Glad to help!
Dawn











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Subject: Re: [h-cost] Younger Eleonora in red
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> >I don't know how long y'all will be able to download the pictures
> >without overrunning the bandwidth. I did have it loaded on one of the
> >free sites and it yarked after one look at the hi-rez image (300 ppi).

Kate was kind enough to email me the large image, and I've got it hanging
off my server.

The smaller image (762x958) is at
<http://www.goldsword.com/sfarmer/SCA/Paintings/bronzino_EleanorTreasureRoom-1.jpg>

and the larger one (1523x1908) is at
<http://www.goldsword.com/sfarmer/SCA/Paintings/bronzino_EleanorTreasureRoom-300.jpg>

The partlet almost looks like it's smocked -- with what we think of as the 
smocking embroidery is beads or small pearls ...

Jerusha
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Subject: Re: [h-cost] Virginia 1830's
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There have been several books out on the development of the cotton industry
in the last couple of years that might also help you.  One that I have is
"Women at Work" by Thomas Dublin. Sub-title: The Transformation of Work and
Community in Lowell, Massachusetts 1826-1960. (Columbia U Press,1993, 2nd
Edition)
Kathleen
----- Original Message ----- 
From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Tuesday, October 19, 2004 5:07 PM
Subject: RE: [h-cost] Virginia 1830's


> Wow Dawn, this is great- thanks! I did take a look at the Conner Prairie
site, and the clothing
> essay there was very explicit about cotton being _not_ common, it was
labeled as a luxury fabric.
> They claimed wool and linen were common, with silk and cotton being
"rich". Funny, I thought I
> remembered that by the 1830's cotton was very much "King" in the south.
Will have to go read more
> about that I guess.
>
> I'll forward your post to the director so she can read what you said about
sleeves and the
> mid-decade changes. It's gonna blow her mind, because right now she's
convinced that all the
> "working women" should be running around in their shifts and aprons! Oy!
>
> You said that printed cottons were big. What about checks, plaids and
stripes? Which colors were
> most popular, and which colors are just wrong?
>
> I will track down the Lowell's Mill pattern, thanks for the tip. I'm about
3 1/2 hours from D.C.-
> so a weekend trip to the Smithsonian isn't impossible.
>
> Thanks for the help!
>
> ::Linda::
>
>
>  On Behalf Of Dawn Luckham
> Subject: [h-cost] Virginia 1830's
>
> This is something I know a LITTLE about!
> I cannot tell you about Virginia specifically, but I've always thought the
> 1830's would be a difficult period to try to show as the styles made a
semi
> dramatic change mid decade.
>
> Cotton was huge.  Specifically, printed cottons were extremely popular due
> to the availability and adorability of fabrics from the cotton
> industry.  Printing methods had advanced and there was a wide range of
very
> pretty floral cottons.
>
> {snippage of much great info}
>
> So, I would suggest that you need to find out if you will be presenting
the
> time before 1836 or after.
>
> As a basic pattern source and good beginning, I would highly recommend you
> obtain a copy of Past Patterns Lowell Mill pattern, if you haven't
already.
> There's some really good research information included with the pattern.
>
> I don't know how close you are to D.C. but the Smithsonian has some very
> nice examples of this period in their collection.  I'm sure there are a
> million other museums in the area that do as well.
>
>   It sounds like a really fun project.
> Dawn
>
>
>
> _______________________________________________
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Subject: [h-cost] Silk floss for Dummies...
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I'd like to start another remedial needlework project (Blackwork 101 
final project came out beautifully, thanks for asking!) and I thought 
here would be the perfect place to start.

Is there a silk floss equivalent of DMC cotton floss? What is your 
favorite entry level silk floss? Who's your favorite on-line vendor for 
such things?

Thanks ever so!
Laurie

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Subject: Re: [h-cost] Silk floss for Dummies...
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My all time favorite online source is www.Threadneedlestreet.com  Located in scenic Issaquah, Washington.  The owner, Denise, is knowledgeable, friendly and very helpful with questions about fibers, flosses and all things needleworthy.

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares

-------------- Original message -------------- 

> I'd like to start another remedial needlework project (Blackwork 101 
> final project came out beautifully, thanks for asking!) and I thought 
> here would be the perfect place to start. 
> 
> Is there a silk floss equivalent of DMC cotton floss? What is your 
> favorite entry level silk floss? Who's your favorite on-line vendor for 
> such things? 
> 
> Thanks ever so! 
> Laurie 
> 
> _______________________________________________ 
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From: "Ron Carnegie" <r.carnegie@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Virginia 1830's
Date: Tue, 19 Oct 2004 23:22:57 -0400
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    Conner prairie usually does a good job.  I was surprised as the rest of
you regarding these comments for cotton in 1830 and took a look at their web
page itself.

   What is says later is,

"Cotton cloth was readily available, but it was imported from England, or.
at least New England, and so usually required cash to own. Cotton was grown
in India, where there was plenty of cheap labor to perform the backbreaking
field work and then the tedious picking out of the cotton seeds from the
harvested cotton bolls. Spinning, dyeing and weaving of the cotton ~ also
hand-done very cheaply in India, or the harvested cotton was shipped to
England where the newly developing power machinery could turn it into spun
threads and then into woven cloth. England developed a monopoly on cotton
and sold it to other countries at great profit. The early American colonies
were forbidden to produce their own cotton fabrics, and were forced to
purchase them from English merchants. Later, after the American Revolution,
the growing of cotton and the manufacture of cotton cloth encouraged both
the slave population of the southern states and the industrialization of the
New England states. But, because cotton cloth production was not a family
industry, it was expensive to buy. People who could afford to buy cotton
cloth found a nice variety of gaily printed patterns. Cotton fabrics were a
favorite gift for men to take home from their travels. "

    This web page has a few common mistakes, and I suspect was not written
by a researcher but rather by whatever their School programs people, or
their web page designer.  I think they are also referring to a specific type
of person in a specific place, and do not make that clear.  The place being
the 1830 frontier on the plains.  This is a common error at Living History
museums, mine included.  They frequently lead one to believe that they are
showing life in their time period.  They typically forget to mention how it
is also regionally specific.

	Colonial Williamsburg (my site) does a rather good job at depicting the
life of Virginians living in the capital city in the third quarter of the
18th century.  Life in rural Virginia (just out side of town even) is
completely different, and even more so is life anywhere in New England at
the same time!

    1830 is NOT my period, but American Colonies are.  The colonies were not
forbidden to make cotton cloth, in fact they did.  There just wasn't a lot
of profit in it.  The colonies WERE prohibited the most current technology,
which was the powered looms) and therefore relied upon hand looms.  Besides
there are also all the usual arguments about America's short staple cotton
difficulties.

	I don't know if the assertion that cotton was expensive as it was not
family made is true.  Economics would suggest just the opposite, unless your
family was actually making the cloth.  This is the reason the machines and
factories took over, TO INCREASE PROFITS BY REDUCING LABOR TIME.  Of course
just a little research into fabric prices at the time should clear that up.
If Connor Prairie's assertions are correct however, the Lowell Mills account
of a cotton dress a year doesn't really refute it.  Just as family made
cloth would be less expensive to the family making it, so would factory
cloth to the mill.  Seems like an obvious Christmas bonus idea.

     Cotton production is a curiously hotly debated topic, and for several
different costuming periods!

I remain,
Ron Carnegie


> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lloyd Mitchell
> Sent: Tuesday, October 19, 2004 7:20 PM
> To: Historical Costume
> Subject: Re: [h-cost] Virginia 1830's
>
>
> There have been several books out on the development of the
> cotton industry
> in the last couple of years that might also help you.  One that I have is
> "Women at Work" by Thomas Dublin. Sub-title: The Transformation
> of Work and
> Community in Lowell, Massachusetts 1826-1960. (Columbia U Press,1993, 2nd
> Edition)
> Kathleen
> ----- Original Message -----
> From: "Linda Rice" <vmaa2@cox.net>
> To: "'Historical Costume'" <h-costume@indra.com>
> Sent: Tuesday, October 19, 2004 5:07 PM
> Subject: RE: [h-cost] Virginia 1830's
>
>
> > Wow Dawn, this is great- thanks! I did take a look at the Conner Prairie
> site, and the clothing
> > essay there was very explicit about cotton being _not_ common, it was
> labeled as a luxury fabric.
> > They claimed wool and linen were common, with silk and cotton being
> "rich". Funny, I thought I
> > remembered that by the 1830's cotton was very much "King" in the south.
> Will have to go read more
> > about that I guess.
> >
> > I'll forward your post to the director so she can read what you
> said about
> sleeves and the
> > mid-decade changes. It's gonna blow her mind, because right now she's
> convinced that all the
> > "working women" should be running around in their shifts and aprons! Oy!
> >
> > You said that printed cottons were big. What about checks, plaids and
> stripes? Which colors were
> > most popular, and which colors are just wrong?
> >
> > I will track down the Lowell's Mill pattern, thanks for the
> tip. I'm about
> 3 1/2 hours from D.C.-
> > so a weekend trip to the Smithsonian isn't impossible.
> >
> > Thanks for the help!
> >
> > ::Linda::
> >
> >
> >  On Behalf Of Dawn Luckham
> > Subject: [h-cost] Virginia 1830's
> >
> > This is something I know a LITTLE about!
> > I cannot tell you about Virginia specifically, but I've always
> thought the
> > 1830's would be a difficult period to try to show as the styles made a
> semi
> > dramatic change mid decade.
> >
> > Cotton was huge.  Specifically, printed cottons were extremely
> popular due
> > to the availability and adorability of fabrics from the cotton
> > industry.  Printing methods had advanced and there was a wide range of
> very
> > pretty floral cottons.
> >
> > {snippage of much great info}
> >
> > So, I would suggest that you need to find out if you will be presenting
> the
> > time before 1836 or after.
> >
> > As a basic pattern source and good beginning, I would highly
> recommend you
> > obtain a copy of Past Patterns Lowell Mill pattern, if you haven't
> already.
> > There's some really good research information included with the pattern.
> >
> > I don't know how close you are to D.C. but the Smithsonian has some very
> > nice examples of this period in their collection.  I'm sure there are a
> > million other museums in the area that do as well.
> >
> >   It sounds like a really fun project.
> > Dawn
> >
> >
> >
> > _______________________________________________
> > 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] Virginia 1830's
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   Actually, if I had bothered to read the rest of the article before
posting, I would have seen that it was written by a "retired Director of
Programs".   I don't know much about Connor Prairie's administration (though
I do know some of their employees) but I know I wouldn't turn to any of our
programming department if I wanted historic clothing advice!

   The article also went on to talk about other locations as well.  I
suspect it is really just a flawed article based on flawed secondary sources
and assumptions.  Typical online fare.

	I really do have great respect for some of the work they do at Conner
Prairie, and they have been through some real hard times recently.

cheers,
Ron

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Ron Carnegie
> Sent: Tuesday, October 19, 2004 10:23 PM
> To: Historical Costume
> Subject: RE: [h-cost] Virginia 1830's
>
>
>     This web page has a few common mistakes, and I suspect was not written
> by a researcher but rather by whatever their School programs people, or
> their web page designer.  I think they are also referring to a
> specific type
> of person in a specific place, and do not make that clear.  The
> place being
> the 1830 frontier on the plains.  This is a common error at Living History
> museums, mine included.  They frequently lead one to believe that they are
> showing life in their time period.  They typically forget to
> mention how it
> is also regionally specific.
>
>
> http://mail.indra.com/mailman/listinfo/h-costume

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Hi Teddy,

This is exactly what I did, using two half circles, the circumference being 
larger by several inches and taking up the extra material into sewn down 
pleats, almost dart-like in a way. It is taped underneath to hold the 
pleats in shape further from the waist area. It really does flow nicely 
around my husband's legs, but the work to get this done was more than I 
want to deal with normally.

However, I was following someone else's instructions, so I fully appreciate 
your light bulb moment. I wouldn't have thought of it otherwise.

Kimiko



At 12:43 PM 10/19/2004 +0100, you wrote:
<<snipped>>
>whereas, if you used a circle where the inner edge is big enough that it would
>need some form of pleating to make it small enough to fit the
>doublet/jerkin waist, the amount of fullness as much greater (in other
>words, a bigger dough-nut - a bigger circle with a bigger hole cut from
>the middle)
>
>Of course, now that this has occutred to me, it seems *obvious* but it
>has literally only just occured to me - DOH!
>
>Teddy

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At 08:03 PM 10/19/2004 -0400, you wrote:
>Kate was kind enough to email me the large image, and I've got it hanging
>off my server.
>
>The smaller image (762x958) is at
><http://www.goldsword.com/sfarmer/SCA/Paintings/bronzino_EleanorTreasureRoom-1.jpg>
>
>and the larger one (1523x1908) is at
><http://www.goldsword.com/sfarmer/SCA/Paintings/bronzino_EleanorTreasureRoom-300.jpg>
>
>The partlet almost looks like it's smocked -- with what we think of as the
>smocking embroidery is beads or small pearls ...
>
>Jerusha


Hi Jerusha,

Thanks so much Jerusha for sharing the images with us, especially that 
larger image. I had thought the partlet was smocked and beaded when I saw 
it on TV, but I could never quite get a clear enough image to state for 
certain. When I get some time, I am hoping to recreate this partlet, as I 
think it is one of the nicest I have seen.

Kimiko

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At 12:49 PM 10/19/2004 +0100, you wrote:
>Period equivalent of modern pants (or, to Americans, "undershorts")
>
>Braes is the term I'm used to from 14th &15th century costuming, though
>I'm uncertain if it's an all encompassing term from the period or
>whether (much as "cotehardie" is often used to mean "gothic fitted
>gown") it has just caught on and become a generic catch-all label for
>mens underwear when several different terms would have really been used
>in different 14th/15th century periods and places periods and places.
>
>Teddy


Ah, that is why I can't seem to find the term for 16th c. garb as braes in 
my books so far, but found some interesting "underwear" looking braes from 
earlier centuries illustrated online.

Kimiko


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Wow this became a huge list!
Thank you all very much!


Ancient Egyptian 3300 BC-30 BC Ancient Egypt: 3000-500
Etruscan Period: 1000-300
Ancient Greece: 700-150 BC
Rome 700BC-476 CE Ancient Roman 30BC - 476 CE
Byzantine 330 - 1453 Byzantine: 300-1450



Dark Ages 400-1000
	Merovingian 500-751
	Roman Medieval 800-1200
	Carolingian 751-843
	Ottonian 900-1002
Medieval Europe 1200-1450 Gothic Medieval 1200-1480

	Vikings 800 - 1169
	Norman 1071 - 1200
	Saxon ?


Italian Renaissance 1420-1600 Italian Renaissance: 1480-1510
German Renaissance: 1510-1550
Spanish Renaissance: 1550-1600

Tudor 
 - Henry VII 1485-1509
 - Henry VIII 1509-1547
 - Edward VI 1547-1553
 - Marian 1553-1558
 - Elizabethan 1558-1603
Jacobean 1603-1625
Baroque 1620-1750 Baroque: 1620-1715
Rčgence: 1715-1730
Rococo: 1730-1770
Georgian 1720-1812 Georgian is 1720 - 1830.
American Colonial 1492-1775
Louix XVI: 1770-1795
American Revolution 1775-1800
Directoire: 1795-1804
Empire: 1800-1820
Neo Classical Period 1800-1825
Biedermeier: 1820-1835
Regency 1812-1830 Regency is 1810 - 1820
Empire 1820-1840
New Rococo: 1835-1870
Victorian Era 1837-1901
American Civil War Era 1861-1865
Style Mixing Period: 1870-1890
Jugendstyle (Art Nouveau): 1890-1910
Edwardian Era 1901-1919
Funktionalism: 1920-1940
Our time: 1940-

Art Deco?

   I think of it as Jazz Age, post WWI and into the 1920s.

     U.S. had the Depression era.

     Post WWII was the New Look developed by Dior and other designers,
which went into the 1950s.

     Late 50s/early 60s was the Eisenhower era in the US.  1950s was the
beginning of the Nuclear era, although that may not be attached to
fashion so much.

     Late 60s/early 70s was youth vs the establishment, with fashions for
both.

     Mid 70s, the Disco era, late 70s into the 80s was Punk & New Wave,
and then it starts getting blurry because we're to close to it all. 
90s, the Lycra era? 


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Subject: Re: [h-cost] Virginia 1830's
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In a message dated 10/19/2004 11:24:08 PM Eastern Standard Time, 
r.carnegie@verizon.net writes:

> I don't know if the assertion that cotton was expensive as it was not
> family made is true. 

MY question is.... Where is flax grown in America....and VA? How could linen 
be cheaper if cotton is being grown all around and slaves are there to produce 
the product? The cotton gin has been around for a while by the 1830s. And 
where do poorer people and slaves get their clothes? Especially if living on a 
plantation? Might a house servant get a hand-me-down cotton dress before a silk 
one....especially for work. What about wool production....in VA? What is it 
used for and when worn? Who would wear wool on a VA summer day to work in? I'm 
not talking about Indian cotton or mull, y'know. Where flour sacks made of 
linen?

I think one could make a cotton dress and be just fine depicting 1830s VA 
rural life.
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I know that George Washington's birthplace in Westmoreland County produced wool.  It is a still working plantation, and they do demonstrations of shearing the sheep and spinning wool.  I know the Shirley and Berkley Plantations are still working plantations.  We worked on a film at Berkley and the plantation's sheep kept getting into the shots... I guess they wanted to be extras!  Both plantations may have the history of what crops were grown on them on their websites.  They are on the opposite side of the James River from me.

I will be talking with one of the historians from the Valentine tonight.  I will ask her about the crops, wool, and cotton.  

Here are a few links about VA crops:
http://www.history.org/history/teaching/tradsamp.cfm

About farm machinery, 1833:
http://kclibrary.nhmccd.edu/19thcentury1830.htm

http://inventors.about.com/library/inventors/blfarm5.htm

http://www.ls.net/~newriver/topic/ag.htm
 
Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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From: "Danielle Nunn-Weinberg" <dannw@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Wed, 20 Oct 2004 10:38:05 +0000
Subject: Re: [h-cost] powdered wigs
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That sounds like it was copied from the movie "Ridicule" - a lady in that movie goes through that exact process, mind you they might have been blowing powder from their hands not plates, I haven't seen the movie in ages.

Cheers,
Danielle

----- Original Message -----
> Colonial Williamsburg is selling a wonderfull powder. It is white and it is
> perfumed, absolutely lovely.
> The other day they showed a programme about Marie Antoinette in the
> television from BBC Prime.
> There were two maids standing on each side of the queen, who stood naked.
> They had a plate with powder in front of their mouth, and they blew air on
> the powder so that it got over to the queen.
> When the queen had finished, you clearly noticed her footmarks on the floor.
> I have never seen this before, but wondered if this was a comon thing to do
> for upperclass?
> 
> Bjarne
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From h-costume-bounces@indra.com  Wed Oct 20 07:13:47 2004
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From: Marquesate <nicolas_fouquet@yahoo.com>
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Subject: [h-cost] OT: Brits on the list? Costume party interest?
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Hi All,

Apologies for "abusing" the list, but I remember that there were quite a few
lovely people on here who I have met over the years.

I am not sure anymore how many folks on this list live in Britain. last time I
was aware must eb a couple of years back.

However, I am trying to scope interest for a BIG costumed party in summer 2005.
Granted, it is not *quite* historical, but it can be bent towards it. :-D

Anyway, I made a general-interest poll, open to all, I'd be grateful - if you
have any interest at all - to gather some info:

http://www.livejournal.com/users/marquesate/162042.html

Thanks dears, and now back to our scheduled purely historical costuming, as
opposed to fantasy costumes based on historical ones. ;-)

Nicole


	
	
		
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hello.
Now i have started a new website with the current projekt i am making with
chenille stumpwork flower ornaments.
http://www.my-drewscostumes.dk/chenillestumpwork.htm
I have not made a watercolour of the gown yeat, because i have not had the
time, but soon i wil post a picture so you will get an idea about how the
projekt is going to be like.
Many greetings HAPPY STITCHING

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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From: Bonnie Booker <Aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Silk floss for Dummies...
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> >
> > Is there a silk floss equivalent of DMC cotton floss? What is your
> > favorite entry level silk floss?

I like Kreinik Mori or Serica and Maderia.  Kreinik is 6 or 3 ply,
Maderia 4.  Both are colorfast and not given to bleeding.  Important
when working with black and red.

Who's your favorite on-line vendor for
> > such things?

I like Thread express on line.  They have a wide variety and some good sales.


-- 
Aspasia Moonwind
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Subject: Re: cat off counter (was Re: [h-cost] costume cats & hoop skirts
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We used mouse traps turned upside down on all the places we didn't want my honey's cats to jump.  It would make a big noise and jump but yet it didn't hurt the cats and it seemed to work really well.  A couple of times of that kind of scare and they stopped jumping on the mantle and book shelves.

Kit

In a message dated 10/8/2004 1:56:34 PM Eastern Daylight Time, Carolyn Kayta Barrows <kayta@frys.com> writes:

>
>As for disciplining him... he chooses to jump on the counter where there is
>no one around.. he won't do it when we are around... it's his method of
>attracting attention we think. If there was a tried and true method for
>getting him to stop we haven't found it.
>
>Water guns from us lurking around the corner.. lemon juice on the bench...
>it just doesn't work.. even ignoring him when he pushes a bowl or cup to the
>floor (ceramic tiled!) doesn't work.

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> Who's your favorite on-line vendor for
> > > such things?
>
> I like Thread express on line.  They have a wide variety and some good
sales.
>
>
> -- 
> Aspasia Moonwind

Hi, I say the same, Thread express is very good and fast ordering.
Eterna Stranded Silk Floss is 12 stranded, so it would be 2 of their strands
that goes with 1 of DMC strand.
But i dont know if it is colour fast.
For very fine embroidery their stranded floss is very fine.
I use 1 strand for my embroideries

Bjarne


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From: gia_gavino@comcast.net (Elena O'Tighearnaigh)
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Silk floss for Dummies...
Date: Wed, 20 Oct 2004 16:13:07 +0000
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Thread Express?  Could you post the URL, please?  I'm always looking for another online place for threads!  Thank you.

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares

-------------- Original message -------------- 

> > > 
> > > Is there a silk floss equivalent of DMC cotton floss? What is your 
> > > favorite entry level silk floss? 
> 
> I like Kreinik Mori or Serica and Maderia. Kreinik is 6 or 3 ply, 
> Maderia 4. Both are colorfast and not given to bleeding. Important 
> when working with black and red. 
> 
> Who's your favorite on-line vendor for 
> > > such things? 
> 
> I like Thread express on line. They have a wide variety and some good sales. 
> 
> 
> -- 
> Aspasia Moonwind 
> _______________________________________________ 
> h-costume mailing list 
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Date: Wed, 20 Oct 2004 18:12:33 +0100 (BST)
From: julian wilson <smnco37@yahoo.co.uk>
Subject: Re: [h-cost] OT: Brits on the list? Costume party interest?
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Well, either something is wrong with my browser or I'm having trouble understanding the working of your Poll site - I wanted to fill-out the Poll, [because the idea interests me, and I know a number of LOTR enthuasists over here - and our medieval living-history Companie has nothing scheduled for next August so I would have been at a loose-end], and can't make anything happen when I select the "fill-out-the Poll page- all I get is the Results page - nothing else.
Julian,
in "olde" Jersey

Marquesate <nicolas_fouquet@yahoo.com> wrote:
Hi All,

Apologies for "abusing" the list, but I remember that there were quite a few
lovely people on here who I have met over the years.

I am not sure anymore how many folks on this list live in Britain. last time I
was aware must eb a couple of years back.

However, I am trying to scope interest for a BIG costumed party in summer 2005.
Granted, it is not *quite* historical, but it can be bent towards it. :-D

Anyway, I made a general-interest poll, open to all, I'd be grateful - if you
have any interest at all - to gather some info:

http://www.livejournal.com/users/marquesate/162042.html

Thanks dears, and now back to our scheduled purely historical costuming, as
opposed to fantasy costumes based on historical ones. ;-)

Nicole





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Bjarne, they're gorgeous.  I can't even imaging embroidering like this and then not wearing it myself <G>.
Julie in San Diego
---- h-costume@indra.com wrote:
>
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> Date: Wed, 20 Oct 2004 17:11:54 +0200
> > Hello.
> Now i have started a new website with the current projekt i am making with
> chenille stumpwork flower ornaments.
> http://www.my-drewscostumes.dk/chenillestumpwork.htm
> I have not made a watercolour of the gown yeat, because i have not had the
> time, but soon i wil post a picture so you will get an idea about how the
> projekt is going to be like.
> Many greetings HAPPY STITCHING
> 
> Bjarne

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> Hi Jerusha,
>
> Thanks so much Jerusha for sharing the images with us, especially that 
> larger image. I had thought the partlet was smocked and beaded when I saw 
> it on TV, but I could never quite get a clear enough image to state for 
> certain. When I get some time, I am hoping to recreate this partlet, as I 
> think it is one of the nicest I have seen.

YOu're more than welcome.  Well, it looks like you've got 2 sets of 
eyes that think it's smocked and beaded.  I can't wait to see it when
you're finished.

Jerusha
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Again from the serialized Pepy's diary:

much offended in mind at a proud trick my man Will hath got, to keep his 
hat on in the house, but I will not speak of it to him to-day; but I 
fear I shall be troubled with his pride and laziness, though in other 
things he is good enough.

http://www.pepysdiary.com/archive/1661/10/20/index.php

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

In the third presidential debate, for instance, Bush said "one part of 
my foreign policy" is that "I believe that God wants everybody to be 
free." In other words, Bush was justifying the invasion of Iraq, at 
least partly, on the basis that it was what God wanted. -- Robert Parry
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Date: Tue, 19 Oct 2004 23:32:00 -0700
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Subject: Re: [h-cost] a list of extant clothing
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At 10:57 AM -0400 10/15/04, Kathy Page wrote:
>Heather,
>
>You might be the right person to ask this question
>of.. in hopes you have come across the items I did.
>Since your catalogue tends to predate these Italian
>camicias (I believe) but perhaps you might recognize
>them and could hopefully head me in the right
>direction for better information.
>I found them in a pdf version of the book "Old Italian
>Lace", photos can be found in these pdf's:

<snip>

SOrry -- I hadn't realized I hadn't answered this.  These items are 
outside the scope of my particular project, so I'm afraid I can't 
help you on them.

Heather
-- 
****
Heather Rose Jones
heather.jones@earthlink.net
****
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Hello all

Has anyone ever seen the full info, or a color version of this image?
http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg

Parts of it kinda looks like the other image once thought to be Jane Grey
http://www.tudor-portraits.com/CatherineParr.jpg

But I've never seen this image before, and something about it looks... off 
somehow. Does anyone have more info?

Thanks,

Kimiko

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> Has anyone ever seen the full info, or a color version of this image?
> http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg
>
> Parts of it kinda looks like the other image once thought to be Jane Grey
> http://www.tudor-portraits.com/CatherineParr.jpg

 	I've seen it several times alhough of course I can't put my finger 
on where right now.  I've always seen it labeled as Jane Grey/Dudley but 
now that you've planted a seed, the jewel on the _bodice_ of both 
portraits appears to be the same--oval with three pendant pearls and a 
crown on top.  And wasn't the _necklace_ jewel one of the keys in 
re-identifying the second portrait as Catherine Parr since that matched 
the one of her in red one later?

--annora
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> Has anyone ever seen the full info, or a color version of this image?
> http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg

 	It bugs me that I can't remember where I saw this.  This is NOT a 
good version, but the cover of the book Lady Jane Grey, Nine Days Queen by 
Alison Plowden shows a fraction of it.
http://tinyurl.com/3vby4
 	All I can find says it's by an unknown artist and is in the Lord 
Hastings collection.

 	Also found some questions about portrait identity at 
http://home.earthlink.net/~elisale/threeportraits.html

--annora
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I asked my friend who was the curator of historic photographic material and publications at Valentine Museum.  She says the only image she recalls showing cotton was in the Cook Collection.  She believes this photo was taken in South Carolina.  She said that she hasn't seen anything written about cotton grown in Virginia.  Tobacco has always been the big cash crop in Virginia.

My husband said he has seen on farm with cotton out near the mountains.  I did check on the VA Dept. of Agriculture website and cotton was not listed in the top 20 crops.
    
Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Many thanks to everyone for answering my question about powdered wigs.

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
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If any of you are interested, I've begun another Elizabethan dress diary.
You can go to:

http://members.tripod.com/seamstrix/

and click on 'QE2' to see what I have up so far. 




Karen

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It looks lovely so far!

You have one image not displaying, though. It's the last one--sleeve lining, I think.

kate

----- Original Message -----
From: seamstrix@juno.com
Date: Thursday, October 21, 2004 8:58 am
Subject: [h-cost] New Dress Diary

> If any of you are interested, I've begun another Elizabethan dress 
> diary.You can go to:
> 
> http://members.tripod.com/seamstrix/
> 
> and click on 'QE2' to see what I have up so far. 
> 
> 
> 
> 
> Karen
> 
> ________________________________________________________________
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] image of Jane Grey?
Date: Thu, 21 Oct 2004 09:22:23 -0500
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If I remember right from Roy Strong's book "Tudor and Jacobean Portraiture"
this portrait, though id'ed as Jane Grey, is either  in private ownership,
lost or(gulp!)destroyed. It was also thought to be cut down from an original
full-length portrait.  I do think this or a copy was used for the cover
image for the republication of Alison Plowden's "Life of Lady Jane Grey"
See bn.com or amazon.com for this image. Wonder if it is actually Kathryn
Parr with the reidentification of the Hampton Court painting of Jane as
Kathryn Parr.

Ann Rinaldi, an author known for her young adult historical novels, has a
new one coming out in Feb, on Jane.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kimiko Small
Sent: Wednesday, October 20, 2004 10:45 PM
To: h-costume@indra.com
Subject: [h-cost] image of Jane Grey?


Hello all

Has anyone ever seen the full info, or a color version of this image?
http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg

Parts of it kinda looks like the other image once thought to be Jane Grey
http://www.tudor-portraits.com/CatherineParr.jpg

But I've never seen this image before, and something about it looks... off
somehow. Does anyone have more info?

Thanks,

Kimiko

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> Hello all
>
> Has anyone ever seen the full info, or a color version of this image?
> http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg
>
> Parts of it kinda looks like the other image once thought to be Jane Grey
> http://www.tudor-portraits.com/CatherineParr.jpg
>
> But I've never seen this image before, and something about it looks... off 
> somehow. Does anyone have more info?

Look at the fabric.  that's very similar to the fabric used in the Eleanor
of Toledo painting.  There's an image floating around somewhere of one of
the french queens wearing a dress very similar to that one.  I think
"glittersweet" has a color image of that one.

Jerusha
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Subject: Re: [h-cost] a list of extant clothing
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Heather-- 
I know it's mostly outside of the time you mentioned, but (other than the
Mary of Hungary gown) have you run across any extant female garments dating
to between ~1490-1530?

-E

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Subject: RE: [h-cost] Virginia 1830's
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Hi~!

This is sorta my train of thought as well.... that cotton was being grown if not in eastern
Virginia, at least in the south! Close enough that it should be easily obtainable and not very
expensive. I'm sure that "linen" could probably encompass nettle, hemp, etc and that it was being
produced alongside of cotton. After all, weren't linen-wool and linen-cotton fabrics known and
used? 

I can see quite a bit of research looming ahead.... ;o)

And in the mean time, if I can find lightweight linen affordably, I'll use it for underclothes just
because I think it's nicer. If not, then muslin will do!  I actually found natural cotton muslin in
a satin twill weave- medium weight- at Walmart last week, for a BUCK a yard! Woo Hoo! Got the whole
11 yards! 

So far I'm doing pretty well with patterns for dresses and shifts, thanks to all of you. Anybody
know of any patterns for caps, hats and other headgear? Accessories of all kinds, really, as we all
know they can really make the look complete. 

Pax,
::Linda::

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of
AlbertCat@aol.com
Sent: Wednesday, October 20, 2004 4:24 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Virginia 1830's

In a message dated 10/19/2004 11:24:08 PM Eastern Standard Time, 
r.carnegie@verizon.net writes:

> I don't know if the assertion that cotton was expensive as it was not
> family made is true. 

MY question is.... Where is flax grown in America....and VA? How could linen 
be cheaper if cotton is being grown all around and slaves are there to produce 
the product? The cotton gin has been around for a while by the 1830s. And 
where do poorer people and slaves get their clothes? Especially if living on a 
plantation? Might a house servant get a hand-me-down cotton dress before a silk 
one....especially for work. What about wool production....in VA? What is it 
used for and when worn? Who would wear wool on a VA summer day to work in? I'm 
not talking about Indian cotton or mull, y'know. Where flour sacks made of 
linen?

I think one could make a cotton dress and be just fine depicting 1830s VA 
rural life.



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Hey Penny~!

Wow, thanks for checking into that! So, are you saying that the typical 1830's Virginia farm folk
would have been wearing linen or wool? That is very interesting! Obviously I need to get myself to
a library, and soon! 

As far as current farming- I know that there are extensive cotton fields in the Suffolk-
Southampton Co. region. Ever since a lot of peanut farming went to South America, our farmers are
trying anything they can to stay in business.

Pax,
::Linda::

On Behalf Of Penny Ladnier
Subject: Re: [h-cost] Virginia 1830's

I asked my friend who was the curator of historic photographic material and publications at
Valentine Museum.  She says the only image she recalls showing cotton was in the Cook Collection.
She believes this photo was taken in South Carolina.  She said that she hasn't seen anything
written about cotton grown in Virginia.  Tobacco has always been the big cash crop in Virginia.

My husband said he has seen on farm with cotton out near the mountains.  I did check on the VA
Dept. of Agriculture website and cotton was not listed in the top 20 crops.
    
Penny E. Ladnier
 


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Penny- You are the Information Goddess!  I bow to your magnificent brain! ;o)

Gosh, I haven't been on the James River plantation tours in *years*. They are a wonderful way to
spend a summer's day, just hopping from one incredible house to another. Sadly, the last time I was
up there I saw little in the way of preserved clothing. (Or even repro, for that matter)

Yes, our house does do spinning and weaving demonstrations. But, being as we are in the middle of a
very upscale neighborhood, we are not allowed to have livestock. When the farm was sold and cut up,
the developers left only 2 acres surrounding the house. They actually wanted to tear it down, it
was in such bad shape then. It has come a *long* way in the past few years!

Thanks bunches!

::Linda::

-----Original Message-----
On Behalf Of Penny Ladnier
 Subject: Re: [h-cost] Virginia 1830's

{snipped for brevity}
I know that George Washington's birthplace in Westmoreland County produced wool.  It is a still
working plantation, and they do demonstrations of shearing the sheep and spinning wool.  I know the
Shirley and Berkley Plantations are still working plantations.  

I will be talking with one of the historians from the Valentine tonight.  I will ask her about the
crops, wool, and cotton.  


Penny E. Ladnier




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Hey Penny! 

Thanks for these great leads. Yes, it does look like a trip to Richmond would be a Very Good Thing.
Yes, I'd love to go to lunch, but only if we stay clear of the antiques, book, and fabric stores!
;o)) 

(Penny is a bad influence, or a good one, depending on the state of one's bank account that day!)

Penny, if the Valentine no longer has curators for their collections, how are things shown,
handled, cared for, etc?

Pax,
::Linda::

On Behalf Of Penny Ladnier
Subject: Re: [h-cost] Virginia 1830 

Hi Linda,

You might want to make a trip to Richmond to the Virginia State Library.  It is now located next to
city hall.  They have a wealth of information about the state.  You might also want to check into
their genealogical records.  They copy photos of paintings, diaries, etc. from people researching
their family's history and stores them on in an area of the Library.  You do not need to be a
family member to pull the records. 

Another place you might want to research is the Virginia Historical Society on the Blvd. in
Richmond.  They also have a wealth of information.  

I know the Valentine Museum has a massive image collection.  Unfortunately they no longer have
curators for the image or costume collections. 

And if you come to Richmond, you do have to go to lunch or dinner with me!  I haven't seen you in a
long time. 

Penny E. Ladnier




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Linda Rice wrote:

> Hi~!
> 
> This is sorta my train of thought as well.... that cotton was being grown if not in eastern
> Virginia, at least in the south! 

Wherever it was being grown, by the early 1830's cotton mills were in 
full swing in the northeast and young America was producing large 
quantities of printed cloth for the market. Prior to that most fabric 
was imported, aside from small quantities of linen or wool made on 
family farms.

While I don't have information on clothing, there was enough cotton 
around in households that scrap and piecework quilting really began to 
take off in this period -- prior to this time quilted covers were made 
in 'whole cloth', from large sections of fabric. By the 1830's women are 
using leftover cotton prints for quilts instead. There must have been a 
lot of cotton cut up for clothes, yet it was not so cheap that a 
housewife would throw out the scraps, as was done by the 1850's.

The book "Dating Fabrics" by Trestain has a chapter on these early 
cotton prints, with many color photo samples.


> So far I'm doing pretty well with patterns for dresses and shifts, thanks to all of you. Anybody
> know of any patterns for caps, hats and other headgear? Accessories of all kinds, really, as we all
> know they can really make the look complete. 

http://www.kannikskorner.com/patwomen2.htm

This may be too early for you, but they do have cap patterns.



Dawn


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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Virginia 1830's
Date: Thu, 21 Oct 2004 18:40:05 -0400
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Thanks Dawn~!

Yep, I've looked at the Kannik's Corner stuff, (as well as lots of other sites!) and these caps
about the same as the colonial-era caps that the house director has been told to get away from. All
the docents have the standard-issue mob caps, and I'd really like to get them into something
different. I think paying attention to small details will go a long way to differentiate this house
from the other historic sites in the city, which is part of the requirements. 

Pax,
::Linda::


 Behalf Of Dawn
Subject: Re: [h-cost] Virginia 1830's

Linda Rice wrote:

> Hi~!
> 
> This is sorta my train of thought as well.... that cotton was being grown if not in eastern
> Virginia, at least in the south! 

Wherever it was being grown, by the early 1830's cotton mills were in 
full swing in the northeast and young America was producing large 
quantities of printed cloth for the market. Prior to that most fabric 
was imported, aside from small quantities of linen or wool made on 
family farms.

While I don't have information on clothing, there was enough cotton 
around in households that scrap and piecework quilting really began to 
take off in this period -- prior to this time quilted covers were made 
in 'whole cloth', from large sections of fabric. By the 1830's women are 
using leftover cotton prints for quilts instead. There must have been a 
lot of cotton cut up for clothes, yet it was not so cheap that a 
housewife would throw out the scraps, as was done by the 1850's.

The book "Dating Fabrics" by Trestain has a chapter on these early 
cotton prints, with many color photo samples.

>Anybody know of any patterns for caps, hats and other headgear? Accessories of all kinds, really,
as we all
> know they can really make the look complete. 

http://www.kannikskorner.com/patwomen2.htm

This may be too early for you, but they do have cap patterns.




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Linda Rice wrote:

> Thanks Dawn~!
> 
> Yep, I've looked at the Kannik's Corner stuff, (as well as lots of other sites!) and these caps
> about the same as the colonial-era caps that the house director has been told to get away from.

I was also going to mention that Godey's began publication in the 1830's 
so you may be able to find early issues with either images, or with 
directions for caps and small accessories that would be made at home.



Dawn



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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] Virginia 1830's
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>
>So far I'm doing pretty well with patterns for dresses and shifts, thanks 
>to all of you. Anybody
>know of any patterns for caps, hats and other headgear? Accessories of all 
>kinds, really, as we all
>know they can really make the look complete.


If you can get hold of a copy of "The Workwoman's Guide" originally 
published in the 1830's in England, but recently reproduced in facsimile 
form, you will find many caps, cuffs aprons and so on, with the original 
directions. It takes some working through, but is a wonderful resource.

I can give more details if you want - too idle to go and look it out of my 
library.

Suzi


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Subject: RE: [h-cost] Virginia 1830's
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Thanks Suzi~!
I actually managed to find a used copy- it's now on the way to my house! ;o) The write up made it
sound very useful for many things, not just clothing. 

Pax,
::Linda::


 On Behalf Of Suzi Clarke
Subject: RE: [h-cost] Virginia 1830's

If you can get hold of a copy of "The Workwoman's Guide" originally 
published in the 1830's in England, but recently reproduced in facsimile 
form, you will find many caps, cuffs aprons and so on, with the original 
directions. It takes some working through, but is a wonderful resource.



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Date: Thu, 21 Oct 2004 19:16:14 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] a list of extant clothing
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At 10:41 AM -0500 10/21/04, E House wrote:
>Heather--
>I know it's mostly outside of the time you mentioned, but (other than the
>Mary of Hungary gown) have you run across any extant female garments dating
>to between ~1490-1530?

You might find some useful stuff in:

Nicolescu, Corina. 1970. Costumul de Curete în 
T,arile Române (Sec. XIV-XVIII).  Muzeul de Arta 
al Republicii Socialiste România, Bucures,ti.

(Sorry about all the work-rounds for odd 
characters.)  The book is in Romanian, but 
includes both photographs and cutting diagrams of 
the covered garments.  The ones from the period 
you're interested in are largely kaftan-like 
garments clearly of Turkish influence.  I believe 
there's at least one woman's garment included 
(plus possible female use of the kaftan-like 
objects).

I have no idea how available this book is -- I 
vaguely knew it existed and then happened on a 
second-hand copy that I snapped up.

Heather
-- 
****
Heather Rose Jones
heather.jones@earthlink.net
****

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Subject: Re: [h-cost] Virginia 1830's
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As someone has already suggested, Sturbridge Village (Ma.) and the
Sherbourne Museum (Vt.) should be able to help you re these garments.
I am still looking for my source book, but when I was looking at the cotton
industry last year, I came across a cost comparison that went something like
this:
Cotton per yard at the beginning of the 19th C, at about the-time of
Slaghters Mill (RI), is suggested at about $3.00 a yard.
By 1825, cotton was then about$.13 a yard!
These are US market prices. The inventions and development of machinery and
other mass production processes as well as the cheap labor force (slaves)
for the fiber itself were contributing factors. But all these brought cotton
solidly iin the sceane for ordinary people...part of the 'democratization of
fashion'.
All the patterns of stripes, checks as well as small floral prints were
available. You might check the fabric pattern books that have been issued
for quilt research.  They are also applicable for clothing.  There were
different grades of fabric and finish that of course would have affected the
cost.

Kathleen---- Original Message ----- 
From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, October 21, 2004 4:58 PM
Subject: RE: [h-cost] Virginia 1830's


> Hi~!
>
> This is sorta my train of thought as well.... that cotton was being grown
if not in eastern
> Virginia, at least in the south! Close enough that it should be easily
obtainable and not very
> expensive. I'm sure that "linen" could probably encompass nettle, hemp,
etc and that it was being
> produced alongside of cotton. After all, weren't linen-wool and
linen-cotton fabrics known and
> used?
>
> I can see quite a bit of research looming ahead.... ;o)
>
> And in the mean time, if I can find lightweight linen affordably, I'll use
it for underclothes just
> because I think it's nicer. If not, then muslin will do!  I actually found
natural cotton muslin in
> a satin twill weave- medium weight- at Walmart last week, for a BUCK a
yard! Woo Hoo! Got the whole
> 11 yards!
>
> So far I'm doing pretty well with patterns for dresses and shifts, thanks
to all of you. Anybody
> know of any patterns for caps, hats and other headgear? Accessories of all
kinds, really, as we all
> know they can really make the look complete.
>
> Pax,
> ::Linda::
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of
> AlbertCat@aol.com
> Sent: Wednesday, October 20, 2004 4:24 AM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Virginia 1830's
>
> In a message dated 10/19/2004 11:24:08 PM Eastern Standard Time,
> r.carnegie@verizon.net writes:
>
> > I don't know if the assertion that cotton was expensive as it was not
> > family made is true.
>
> MY question is.... Where is flax grown in America....and VA? How could
linen
> be cheaper if cotton is being grown all around and slaves are there to
produce
> the product? The cotton gin has been around for a while by the 1830s. And
> where do poorer people and slaves get their clothes? Especially if living
on a
> plantation? Might a house servant get a hand-me-down cotton dress before a
silk
> one....especially for work. What about wool production....in VA? What is
it
> used for and when worn? Who would wear wool on a VA summer day to work in?
I'm
> not talking about Indian cotton or mull, y'know. Where flour sacks made of
> linen?
>
> I think one could make a cotton dress and be just fine depicting 1830s VA
> rural life.
>
>
>
> _______________________________________________
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The Cunnington volume for the 19th C has a lot of hats.  Designs are taken
from the usual sources from portraiture to magazine illustrations.

Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 21, 2004 6:53 PM
Subject: Re: [h-cost] Virginia 1830's


> Linda Rice wrote:
>
> > Thanks Dawn~!
> >
> > Yep, I've looked at the Kannik's Corner stuff, (as well as lots of other
sites!) and these caps
> > about the same as the colonial-era caps that the house director has been
told to get away from.
>
> I was also going to mention that Godey's began publication in the 1830's
> so you may be able to find early issues with either images, or with
> directions for caps and small accessories that would be made at home.
>
>
>
> Dawn
>
>
>
> _______________________________________________
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I use this a lot.  The patterns are easily made full size since most of them
are on the most economical design for using all the fabric available.
Squares, rectangles, and such.
Kathleen
----- Original Message ----- 
From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, October 21, 2004 7:47 PM
Subject: RE: [h-cost] Virginia 1830's


> Thanks Suzi~!
> I actually managed to find a used copy- it's now on the way to my house!
;o) The write up made it
> sound very useful for many things, not just clothing.
>
> Pax,
> ::Linda::
>
>
>  On Behalf Of Suzi Clarke
> Subject: RE: [h-cost] Virginia 1830's
>
> If you can get hold of a copy of "The Workwoman's Guide" originally
> published in the 1830's in England, but recently reproduced in facsimile
> form, you will find many caps, cuffs aprons and so on, with the original
> directions. It takes some working through, but is a wonderful resource.
>
>
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: RE: [h-cost] Virginia 1830's
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At 06:40 PM 10/21/2004 -0400, you wrote:
>Thanks Dawn~!
>
>Yep, I've looked at the Kannik's Corner stuff, (as well as lots of other 
>sites!) and these caps
>about the same as the colonial-era caps that the house director has been 
>told to get away from. All
>the docents have the standard-issue mob caps, and I'd really like to get 
>them into something
>different. I think paying attention to small details will go a long way to 
>differentiate this house
>from the other historic sites in the city, which is part of the requirements.
>
>Pax,
>::Linda::
[snip]

You might try looking at the Workwoman's Guide; it was originally published 
in 1838 by "A Lady" in England.  There are many cap styles shown.  The book 
is now available in paperback.

Joan Jurancich
joanmj@surewest.net

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From: Bonnie Booker <Aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Silk floss for Dummies...
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> Thread Express?  Could you post the URL, please?  I'm always looking for another online place for threads!  Thank you.
> 
I think it is just threadexpress.com.  If not, do a search on the name.


-- 
Aspasia Moonwind
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Subject: [h-cost] 1830's one last thing
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One last thing and then I'll try to be quiet. :-p
This artist is European but his paintings are of "real" people.  They're 
wonderful!  Check out this site, all listed paintings marked with a red x 
are on the 'net to see.
http://www.kid.dk/KunstnerVarker.asp?ObjectId=1018

Have fun!
Dawn


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Subject: [h-cost] Eleanora of Toledo dress and Medici crypt?
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Just trying to check my memory here - 

I remember seeing discussion on an email list (I think it was this
one, but am willing to admit error) that suggested that one of the few
extant gowns of Eleanora of Toledo was found in her grave.

Today I watched the TLC show about the Medici and while there were
bones, there were no scraps of clothing, at least none that were
displayed for E of T (except some linen in her ossuary - which they
didn't say, but IMHO looked new enough to be from a prior dig in the
1940s that was mentioned in the show).

The show also mentioned a flood in 1966 that may have destroyed a lot
of the grave goods, so here are my questions:

Was a dress ever found in E of T's coffin/crypt (perhaps back in the
1940s, before the 1966 flood)? Or is the gown from someplace other
than her crypt, or some Eleanor other than that of Toledo?

The show mentions no records of the 1940s excavation, but does anyone
know through word of mouth or rumor what they might have found or been
looking for? Bob Brier, the mummy-ologist in the show, suspects that
there may have been mummified flesh that was removed to study the
skulls.

Allison T.
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A. Thurman wrote:

  > Was a dress ever found in E of T's coffin/crypt (perhaps back in the
> 1940s, before the 1966 flood)? Or is the gown from someplace other
> than her crypt, or some Eleanor other than that of Toledo?

The tomb was opened in 1857, according to Arnold in 'Patterns of Fashion 
1560-1620', and there are photos of the remains of the dress and 
diagrams reconstructing it within that book.


> 
> The show mentions no records of the 1940s excavation, but does anyone
> know through word of mouth or rumor what they might have found or been
> looking for? Bob Brier, the mummy-ologist in the show, suspects that
> there may have been mummified flesh that was removed to study the
> skulls.

I believe they said in the show that the skulls were measured by 
anthropologists who were studying brain capacity in a search for 'the 
Medici Genius', the secret to generations political and economic success 
within the family.



Dawn


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In the oh-so-nifty Italian book that is living with me, there are
color photos of what's left of Eleonora's burial gown (white satin
originally). I'm on my way out of town right now; I'll scan it when I
get home Sunday.

Jerusha--would you be able to host it?

kate

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 22, 2004 5:27 PM
Subject: Re: [h-cost] Eleanora of Toledo dress and Medici crypt?


> At 15:57 22/10/2004 -0400, you wrote:
> >Just trying to check my memory here -
> >
> >I remember seeing discussion on an email list (I think it was this
> >one, but am willing to admit error) that suggested that one of the
few
> >extant gowns of Eleanora of Toledo was found in her grave.
> >
> >Today I watched the TLC show about the Medici and while there were
> >bones, there were no scraps of clothing, at least none that were
> >displayed for E of T (except some linen in her ossuary - which they
> >didn't say, but IMHO looked new enough to be from a prior dig in
the
> >1940s that was mentioned in the show).
> >
> >The show also mentioned a flood in 1966 that may have destroyed a
lot
> >of the grave goods, so here are my questions:
> >
> >Was a dress ever found in E of T's coffin/crypt (perhaps back in
the
> >1940s, before the 1966 flood)? Or is the gown from someplace other
> >than her crypt, or some Eleanor other than that of Toledo?
>
>
> "Patterns of Fashion 1560-1660 Janet Arnold," published by
MacMillan, 1985
>
> "A satin gown and velvet bodice or ' bodies'  worn by Eleanor of
Toledo,
> wife of Cosimo de Medici, who died of malaria in 1562, aged forty.
She was
> buried in these clothes in the Sagrestia Vecchia of San Lorenzo in
> Florence. In 1791 all the Medici coffins, except those in the marble
tombs,
> were removed ,,,,,,snip........Only fragments now
remain......snip.....the
> stockings and garters have survived."
>
> There is, of course a pattern for this garment on Janet's book,
together
> with patterns of the other grave clothes so far examined.
>
> Janet was working with Dr. Mary Westerman Bulgarella of the Pitti
Palace to
> make patterns of the fragments, which were actually just odd bits. I
have
> seen her slides, and how she made sense of them I do not know! The
male
> clothes were actually easier, as there was a great deal of the cloak
for
> example, from what I remember. I believe Dr. Bulgarella is still
working on
> the fragments - at least she was when I spoke to her at Janet's
memorial
> service.
>
> Hope that helps.
>
> Suzi
>
>
> _______________________________________________
> 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: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Eleanora of Toledo dress and Medici crypt?
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At 15:57 22/10/2004 -0400, you wrote:
>Just trying to check my memory here -
>
>I remember seeing discussion on an email list (I think it was this
>one, but am willing to admit error) that suggested that one of the few
>extant gowns of Eleanora of Toledo was found in her grave.
>
>Today I watched the TLC show about the Medici and while there were
>bones, there were no scraps of clothing, at least none that were
>displayed for E of T (except some linen in her ossuary - which they
>didn't say, but IMHO looked new enough to be from a prior dig in the
>1940s that was mentioned in the show).
>
>The show also mentioned a flood in 1966 that may have destroyed a lot
>of the grave goods, so here are my questions:
>
>Was a dress ever found in E of T's coffin/crypt (perhaps back in the
>1940s, before the 1966 flood)? Or is the gown from someplace other
>than her crypt, or some Eleanor other than that of Toledo?


"Patterns of Fashion 1560-1660 Janet Arnold," published by MacMillan, 1985

"A satin gown and velvet bodice or ' bodies'  worn by Eleanor of Toledo, 
wife of Cosimo de Medici, who died of malaria in 1562, aged forty. She was 
buried in these clothes in the Sagrestia Vecchia of San Lorenzo in 
Florence. In 1791 all the Medici coffins, except those in the marble tombs, 
were removed ,,,,,,snip........Only fragments now remain......snip.....the 
stockings and garters have survived."

There is, of course a pattern for this garment on Janet's book, together 
with patterns of the other grave clothes so far examined.

Janet was working with Dr. Mary Westerman Bulgarella of the Pitti Palace to 
make patterns of the fragments, which were actually just odd bits. I have 
seen her slides, and how she made sense of them I do not know! The male 
clothes were actually easier, as there was a great deal of the cloak for 
example, from what I remember. I believe Dr. Bulgarella is still working on 
the fragments - at least she was when I spoke to her at Janet's memorial 
service.

Hope that helps.

Suzi


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>
> In the oh-so-nifty Italian book that is living with me, there are
> color photos of what's left of Eleonora's burial gown (white satin
> originally). I'm on my way out of town right now; I'll scan it when I
> get home Sunday.
>
> Jerusha--would you be able to host it?

Sure thing!

Jerusha
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Here is Threadexpress:
http://threadexpress.com/products.asp?zs=vend&categoryIndex=25&menuitem=&zbot=1

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20041021.075826.-329125.2.Seamstrix@juno.com>
Subject: Re: [h-cost] New Dress Diary
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Hi Karen.
I think your projekt looks very fine. I love the sleaves you have made so
far, and all that fabric matching you have done it so beautifully!
will sertanly come back to see more!

Bjarne


----- Original Message ----- 
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Thursday, October 21, 2004 2:58 PM
Subject: [h-cost] New Dress Diary


> If any of you are interested, I've begun another Elizabethan dress diary.
> You can go to:
>
> http://members.tripod.com/seamstrix/
>
> and click on 'QE2' to see what I have up so far.
>
>
>
>
> Karen
>
> ________________________________________________________________
> Speed up your surfing with Juno SpeedBand.
> Now includes pop-up blocker!
> Only $14.95/ month - visit http://www.juno.com/surf to sign up today!
> _______________________________________________
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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] image of Jane Grey?
Date: Fri, 22 Oct 2004 21:44:06 +1000
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> > Hello all
> >
> > Has anyone ever seen the full info, or a color version of this image?
> > http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg
> >
> > Parts of it kinda looks like the other image once thought to be Jane
Grey
> > http://www.tudor-portraits.com/CatherineParr.jpg
> >
> > But I've never seen this image before, and something about it looks...
off
> > somehow. Does anyone have more info?

Kimiko, I know the image and it feels kinda wrong to me too, but I have a
feeling it's because of the poor quality reproduction that makes it look
kinda like that 'soft focus' or low lighting effects you sometimes find in
Victorian romantic artworks.

>
> Look at the fabric.  that's very similar to the fabric used in the Eleanor
> of Toledo painting.  There's an image floating around somewhere of one of
> the french queens wearing a dress very similar to that one.  I think
> "glittersweet" has a color image of that one.
>
> Jerusha

Jerusha, I know this picture too I've got it saved on my hard drive but I
don't remember where I picked it up from it's a picture of Elizabeth of
Austria from 1575, not the more famous portrait that stops above her waist
but a full length picture. It's really interesting to see how she has got
the jewelled partlet and ruff you usually see in the Second half of the
century but her gown is definitely in the style that you typically see in
the first half of the century with big fur turnback sleeves. I'll do a
google image search when I've got time to see if I can find it again.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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Subject: Re: [h-cost] image of Jane Grey?
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-----Original Message-----
From: Elizabeth Walpole <ewalpole@austarmetro.com.au>
Sent: Oct 22, 2004 4:44 AM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] image of Jane Grey?


> > Hello all
> >
> > Has anyone ever seen the full info, or a color version of this image?
> > http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg
> >
> > Parts of it kinda looks like the other image once thought to be Jane
Grey
> > http://www.tudor-portraits.com/CatherineParr.jpg
> >
> > But I've never seen this image before, and something about it looks...
off
> > somehow. Does anyone have more info?
 

  Look at:
http://www.marileecody.com/gloriana/princesselizabethscrots.jpg

 or if that doesn't work go to
http://englishhistory.net/tudor/monarchs/eliz1.html
and scroll down to the Scrots portrait of the young Elizabeth - if you can get both images on the 
screen, they look like two versions of the same coloring book page.  Look at the hands.  Someone
has taken Elizabeth's book away, but not changed the attitude of her fingers...

Liadain
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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
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Subject: Re: [h-cost] image of Jane Grey?
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<snip>
> Look at the fabric.  that's very similar to the fabric used in the Eleanor
> of Toledo painting.  There's an image floating around somewhere of one of
> the french queens wearing a dress very similar to that one.  I think
> "glittersweet" has a color image of that one.
>
> Jerusha

It used to be at http://glittersweet.com/1575elizabethofaustria.jpg but it's
disappeared for the moment. if you really want it you could email Michaela
(the site owner) to find out if she still has it otherwise I could upload
the copy I saved onto my website.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] chenille stumpwork
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Hi,
I have almost made the neckband with the stumpwork. All the flowers is
mounted to the base of it, but it is not sewed yeat.
http://www.my-drewscostumes.dk/chenillestumpwork.htm


Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] image of Jane Grey?
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> It used to be at http://glittersweet.com/1575elizabethofaustria.jpg but
it's
> disappeared for the moment. if you really want it you could email Michaela
> (the site owner) to find out if she still has it otherwise I could upload
> the copy I saved onto my website.
> Elizabeth

I took it down while orgainising my pages:)

We discussed it on the list a while ago.

And I've been meaning to put up a page to explain each part of her costume
and why it may well be an actual dress, or at least recognised at the time
as a real dress and not just a hodgepodge of styles thsat would have made
her appear in antiquated dress.

I'll upload it again right now if it is of interest, especially as I won't
get around to the page until after next weekend due to Crown Tourney here in
Auckland.

She's just being re-uploaded. Done. Same link as above in the meantime.

I wouldn't compare her to the Jane portrait though, I think it is a brocaded
velvet as well, but not of the same type (the contrast of the white black
and gold on all the portraits and extant remnants of this fabric seems to
suggest to me a single maker? Or copies by other weavers?)

I don't know if I got the full sized image to anyone, but I have a 1600X
whatever version of the painting as well that I can email if anyone wants to
pull out further detail.

I think I wiped the close up images to make room for others portraits.

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


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From: gia_gavino@comcast.net (Elena O'Tighearnaigh)
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Subject: Re: [h-cost] chenille stumpwork
Date: Sat, 23 Oct 2004 11:01:46 +0000
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Oh goodness!  How *beautiful!!!!*  Thank you for sharing!  You are certainly inspiring me to try some stumpwork.

Happy stitches!

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares

-------------- Original message -------------- 

> Hi, 
> I have almost made the neckband with the stumpwork. All the flowers is 
> mounted to the base of it, but it is not sewed yeat. 
> http://www.my-drewscostumes.dk/chenillestumpwork.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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To: h-costume@indra.com
Date: Sat, 23 Oct 2004 07:35:59 -0500
Subject: Re: [h-cost] chenille stumpwork
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Absolutely outstanding work, Bjarne! It's so nice to see the less
stereotypical aspects of the period being done, and done so well! This
will be stunning!

Karen


On Sat, 23 Oct 2004 11:44:50 +0200 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> Hi,
> I have almost made the neckband with the stumpwork. All the flowers 
> is
> mounted to the base of it, but it is not sewed yeat.
> http://www.my-drewscostumes.dk/chenillestumpwork.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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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] chenille stumpwork
Date: Sat, 23 Oct 2004 08:33:04 -0500
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I think this has gone beyond stumpwork 
(as I have known it) and into fabric sculpture!!
Thank you very much for the inspiring things you show to us. Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: Saturday, October 23, 2004 4:45 AM
To: h-costume@indra.com
Subject: [h-cost] chenille stumpwork

Hi,
I have almost made the neckband with the stumpwork. All the flowers is
mounted to the base of it, but it is not sewed yeat.
http://www.my-drewscostumes.dk/chenillestumpwork.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  Sat Oct 23 11:21:53 2004
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This is a Very Bad Place. I love it!!! I decided on the Eterna stranded  
silk:

http://www.threadexpress.com/ 
products.asp?zs=vend&categoryIndex=25&menuitem=&zbot=1

I'm planning a guard on a pale green silk taffeta petticoat using a  
late 16th c. extant dress border as my model. If you have a copy of the  
V&A textile collection publication "Embriodery in Britain from  
1200-1750", it's on pg 69.

I'll also pick up a couple of skeins of Kreinik Mori in a dark red for  
blackwork on a camicia.

http://www.threadexpress.com/ 
products.asp?zs=vend&categoryIndex=141&menuitem=0&zbot=1

Thank you all so much for helping me into yet another textile  
addiction:)

Laurie




On Saturday, October 23, 2004, at 09:06 AM, h-costume-request@indra.com  
wrote:

> Here is Threadexpress:
> http://threadexpress.com/ 
> products.asp?zs=vend&categoryIndex=25&menuitem=&zbot=1
>
> Bjarne
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/

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From: Bonnie Booker <Aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
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> > If any of you are interested, I've begun another Elizabethan dress diary.
> > You can go to: http://members.tripod.com/seamstrix/
> > and click on 'QE2' to see what I have up so far.
> >
Beautiful!
You might want to take a look at preciousplunder.com for crowns.  They
also do custome orders.


-- 
Aspasia Moonwind
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Many of you have talked about how much you enjoy playing in faires (Renn, Dickens etc) How do you become members? I'd love to check it out. I am located in the southwest corner of AZ (4mi from CA :-) Info pretty please??
                          Angelique

		
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I'd love to see this when you get back in town; I'd also love to know
the name of this "nifty Italian book"!

I need to go back through my copy of Patterns of Fashion - KNEW I
should have checked my own bookcase first! :P

Allison T.


Message: 6
Date: Fri, 22 Oct 2004 19:40:34 -0400 (EDT)
From: Susan Farmer <sfarmer@sabre.goldsword.com>
Subject: Re: [h-cost] Eleanora of Toledo dress and Medici crypt?
To: h-costume@indra.com
Message-ID: <200410222340.i9MNeYNC044112@sabre.goldsword.com>

>
> In the oh-so-nifty Italian book that is living with me, there are
> color photos of what's left of Eleonora's burial gown (white satin
> originally). I'm on my way out of town right now; I'll scan it when I
> get home Sunday.
>
> Jerusha--would you be able to host it?

Sure thing!

Jerusha
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Subject: Re: [h-cost] chenille stumpwork
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On Saturday 23 October 2004 5:44 am, Bjarne og Leif Drews wrote:
> Hi,
> I have almost made the neckband with the stumpwork. All the flowers is
> mounted to the base of it, but it is not sewed yeat.
> http://www.my-drewscostumes.dk/chenillestumpwork.htm

Lovely, as always.  I didn't realize that chenille stumpwork was used in the 
18th century.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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> Lovely, as always.  I didn't realize that chenille stumpwork was used in
the
> 18th century.

Dear Cathy.
In the Kyoto Costume book, the thick one called Fashion, on page 69 there is
a dress wich has a neckband embellished with buid up chenille flowers. The
same thing on the rutched ornaments on the skirts. I dont know if it is
stumpwork made, but it is the only way i could imagine it done with chenille
thread.
One thing is sure, it is dimensional flowers.
Back in 18th century there was a huge industry with artificially made silk
flowers. Obviously they did the same with chenille.
I cant get any silk chenille artificially flowers today, so i have to make
them myself somehow. Stumpwork is a way to do it.

Bjarne
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "Success is not final, failure is not fatal; it is the courage to continue
> that counts."--Winston Churchill
> _______________________________________________


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] silk ribbbon embroidery
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Hi.
Just found on lacma's website:
Embroidered silk ribbon on some stomachers from 18th century.
Go and se their nice website, it is a goldmine of fine prints and
costumes/accesories:
http://collectionsonline.lacma.org/mwebcgi/mweb.exe

They have uploaded a lot of fine late 17th century fashion prints.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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On Saturday 23 October 2004 6:04 pm, Bjarne og Leif Drews wrote:
> > Lovely, as always.  I didn't realize that chenille stumpwork was used in
>
> the
>
> > 18th century.
>
> Dear Cathy.
> In the Kyoto Costume book, the thick one called Fashion, on page 69 there
> is a dress wich has a neckband embellished with buid up chenille flowers.
> The same thing on the rutched ornaments on the skirts. I dont know if it is
> stumpwork made, but it is the only way i could imagine it done with
> chenille thread.

> One thing is sure, it is dimensional flowers.

Ah.  I don't have and have not seen the Kyoto Costume book, but if I ever get 
my hands on it I'll look for the dress you've mentioned.  Thank you.

> Back in 18th century there was a huge industry with artificially made silk
> flowers. Obviously they did the same with chenille.

> I cant get any silk chenille artificially flowers today, so i have to make
> them myself somehow. Stumpwork is a way to do it.

Indeed it is, and you do so brilliantly!  Thanks for the information.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: [h-cost] 1530's Florentine Sleeve Question
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Greetings  :)
 
I have a question for the group.  I would like to make a Florentine  style 
gown, circa 1530, with the large sleeves like the ones seen in the  Bronzino 
portraits of the period, particularly the double pouf sleeves of the  green 
velvet gown that we have been discussing somewhat here.  I have had  this style 
gown in my sights for a while, and had planned a similar gown out of  some green 
velvet that I have been keeping until I had time to work with  it.  My problem 
is that I *thought* I had enough fabric, but when I pulled  it out of the 
cupboard to start planning, I measured and realized that I was  three yards 
short.  Most likely I used the missing yardage in a project  several years ago and 
just forgot.  Pooh.  
 
Rather than just give up on the idea, I would like to perhaps use a  
coordinating fabric for the sleeves, perhaps say black velvet with strips of the  
green velvet sewn down the middle, and conversely having strips of the black  sewn 
around the bodice opening and as skirt guards.  I also have a lovely  piece 
of black brocade with a very discreet diamond woven design that would make  
nice sleeves as well.  I could very easily see pearls sewn on those  
intersections, but again, I shy away from just doing things because I find them  pretty 
and would feel more comfortable knowing it is authentic in styling.  
 
I am am kind of leery of just doing something because I can, and would  
rather be able to feel comfortable that it was something that not only could  have 
been done but is documentable as an appropriate sleeve treatment.  I  can 
document using a different fabric for sleeves in earlier and later periods,  but 
so far have seen nothing to indicate that this would be an acceptable  practice 
in Florence during this time.  I can also document beading on  partlets, but 
have not seen any of these poofy sleeves with beading, only strips  of fabric 
for trim or perhaps ribbon.  If anyone can help me out either  with portrait 
documentation or written documentation, I would greatly appreciate  it. 
 
It is tempting to just plunge ahead and say that it *could* have been  done, 
and I may well wind up doing that, but I would by far rather try to be  good 
and be as authentic as possible. 
 
I have to admit that I know much more about what was going on in England  
during this time period, and I am trying hard not to cross over with my  styles.  
 
Thanks in advance  :)
 
Kimberley
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] image of Jane Grey?
Date: Sun, 24 Oct 2004 03:06:18 -0500
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Comparing the pictures, I find that they are similar but not " two versions
of a coloring page" which to me would mean that they are copies of each
other with different colors.  The position of the fingers and hands are
different. The bodies are facing different directions on the PE and CP
portraits.

De


-----Original Message-----
> > Has anyone ever seen the full info, or a color version of this image?
> > http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg
> >
> > Parts of it kinda looks like the other image once thought to be Jane
Grey
> > http://www.tudor-portraits.com/CatherineParr.jpg
> >
> > But I've never seen this image before, and something about it looks...
off
> > somehow. Does anyone have more info?


  Look at:
http://www.marileecody.com/gloriana/princesselizabethscrots.jpg

 or if that doesn't work go to
http://englishhistory.net/tudor/monarchs/eliz1.html
and scroll down to the Scrots portrait of the young Elizabeth - if you can
get both images on the
screen, they look like two versions of the same coloring book page.  Look at
the hands.  Someone
has taken Elizabeth's book away, but not changed the attitude of her
fingers...

Liadain
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Subject: RE: [h-cost] image of Jane Grey?
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  Okay, took me a minute -
    You're right, the Catherine Parr pic is similar but obviously different.  I didn't make myself
clear - I was comparing

http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg

to

http://www.marileecody.com/gloriana/princesselizabethscrots.jpg

   as being very very similar.  BTW, does anyone know to whom the "Jane Grey" pic is attributed,
or where it is?

Liadain


-----Original Message-----
From: otsisto <otsisto@socket.net>
Sent: Oct 24, 2004 2:06 AM
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] image of Jane Grey?

Comparing the pictures, I find that they are similar but not " two versions
of a coloring page" which to me would mean that they are copies of each
other with different colors.  The position of the fingers and hands are
different. The bodies are facing different directions on the PE and CP
portraits.

De


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Subject: [h-cost] Re: Bjarne's work
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At 12:00 PM -0600 10/24/04, h-costume-request@indra.com wrote:
>On Saturday 23 October 2004 5:44 am, Bjarne og Leif Drews wrote:
>  > Hi,
>>  I have almost made the neckband with the stumpwork. All the flowers is
>>  mounted to the base of it, but it is not sewed yeat.
>  > http://www.my-drewscostumes.dk/chenillestumpwork.htm

Oh how wonderful!! Makes me wish I could be an upper crust 
type---alas neither my own style nor where I play in the 18th cent 
really allows it :-P

But I can really really admire your loverly work!!!!

Ta
Carol, just one of the common herd! Hey someone has to get all the 
work done ;-)
-- 
Creative Clutter is Better Than Idle Neatness!
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Subject: [h-cost] Re: Eleanora of Toledo's grave dress
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The book is "Moda alla coret dei Medici" (main title), "gli abiti
restaurati di Cosimo, Eleonora e dom Garzia" (secondary title).

It was apparently published in 1993 as an exhibition book (I'm
guessing maybe in Italy??). The ISBN is 88-7038-238-9. It's 107 pages
(including appendices, etc.) with an approximately 30 page long
section by Janet Arnold in English. The other nifty cool thing about
the book is that all of the photos in it (including those in the
Italian language sections) have a secondary caption in English.

I really wish I could find my own copy of this book!

kate

----- Original Message ----- 
From: "A. Thurman" <athurman@gmail.com>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Saturday, October 23, 2004 12:35 PM
Subject: [h-cost] Eleanora of Toledo's grave dress


> I'd love to see this when you get back in town; I'd also love to
know
> the name of this "nifty Italian book"!
>
> I need to go back through my copy of Patterns of Fashion - KNEW I
> should have checked my own bookcase first! :P
>
> Allison T.


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Subject: Re: [h-cost] Re: Eleanora of Toledo's grave dress
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> The book is "Moda alla coret dei Medici" (main title), "gli abiti
> restaurati di Cosimo, Eleonora e dom Garzia" (secondary title).

Is this the book that has a color picture of the portrait of Laudomia
de'Medici? I know there's one somewhere, but I've never been able to get a
reference for it.
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Subject: [h-cost] Durer's shirt
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  Has anyone made a shirt like the ones Durer wears  in his self-portraits?  The first idea of shape that comes
to my mind is "peasant shirt", deeply smocked at the neck, but the neckline looks more "slit" or "boat" than rounded.  Any guidance would be appreciated...

Liadain
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Subject: Re: [h-cost] Re: Eleanora of Toledo's grave dress
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Sorry, no. There are some of Eleonora that I hadn't seen before
(unfortunately in B&W), but no Laudomia...

I hope that someday someone finds the book. I'd love to see it.

kate

----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 24, 2004 8:19 PM
Subject: Re: [h-cost] Re: Eleanora of Toledo's grave dress


> > The book is "Moda alla coret dei Medici" (main title), "gli abiti
> > restaurati di Cosimo, Eleonora e dom Garzia" (secondary title).
>
> Is this the book that has a color picture of the portrait of
Laudomia
> de'Medici? I know there's one somewhere, but I've never been able to
get a
> reference for it.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Status: RO

Linda,

Your welcome Linda... I have had the flu since last Tuesday.  I stayed in bed watching countless videos from Thursday -Sunday.

Today I watched a video from the History Channel today titled Empires of Industry: Textiles: Birth of an American Industry.  Some things brought up...
1. In 1807, Thomas Jefferson made an Embargo Act, that restricted the importing of textiles.  One reason given was to make the colonists more self-sufficient in developing their own industries.  He wanted to give the Industrial Revolution a push in the U.S.
2. Samuel Slater's mill in the 1820s spun yarns from 250 bales of cotton (I believe this was in a day... please don't make me what the video again to confirm it).  The key word was *spun* and not weave.  After the cotton was spun, it was sold to others to have woven.  The reason Slater's Mill did not weave because weaving was a slow process at the time.  
3. The price on woven goods came down drastically in the U.S. once the Lowell area mills opened.  The video shows a model of one Lowell building where the carding, spinning, and weaving were all done on separate floors.  Weaving was done on the top floor.

Maybe a good place for you to search is the American Textile History Museum, http://www.athm.org/home_framemiddle1.htm .

I don't know if this is helpful to you or not... concerning menswear.  Men's clothing was manufactured far sooner than women's.  The following might impact your time period. 
1 . Brooks Clothing Company, established in New York in 1818, was a pioneer of ready-to-wear (RTW) clothes for men.
2. Oliver Fisher Winchester got his start manufacturing clothing to cover men's arms. He opened a store in Baltimore making and selling shirts (1837).  He moved his business to New York (1847).  He was the first American to patent manufacturing shirts in the U.S.

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Eleanora of Toledo dress and Medici crypt?
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Allison T. wrote:T
>The show also mentioned a flood in 1966 that may have destroyed a lot
>of the grave goods, so here are my questions:

I'm old enough to remember the 1966 Florence flood which attracted
worldwide attention. Many priceless works of art were damaged and
volunteers from other countries went to help with the cleanup operation.
I visited Florence with my parents a year or so later.

Kate Bunting
Library, University of Derby
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In a message dated 10/25/2004 1:25:59 AM Eastern Daylight Time, 
penny@costumegallery.com writes:


> . In 1807, Thomas Jefferson made an Embargo Act, that restricted the 
> importing of textiles.  One reason given was to make the colonists more 
> self-sufficient in developing their own industries.  He wanted to give the Industrial 
> Revolution a push in the U.S.
> 

Self-sufficiency might have been one reason for the Embargo. However, I 
believe the main thrust was political.  As Great Britain and the French Empire were 
fighting each other for world domination, each restricted the U.S. trade with 
the other. Jefferson thought he could get them to ease restrictions by 
declaring we would not trade with either of them.  We did have raw materials that 
were in demand in Europe (tobacco, for one), but I think to the then European 
superpowers, we weren't that significant, and the embargo ended up hurting us 
more than it did them.

This one was on the things that led up to the War of 1812.

Ann Wass
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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] Durer's shirt
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I haven't done that style (yet...<g>), but here's a good article:
http://www.bellomarisco.com/smocking.php
--sue


Frank and Tracy Thallas wrote:
> Has anyone made a shirt like the ones Durer wears  in his
> self-portraits?  The first idea of shape that comes to my mind is
> "peasant shirt", deeply smocked at the neck, but the neckline looks
> more "slit" or "boat" than rounded.  Any guidance would be
> appreciated...
> 
> Liadain _______________________________________________ h-costume
> mailing list h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: [h-cost] More thread for dummies
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This time I'm looking for a gold bullion thread. Not real gold, but a 
nice faux-gold.

Does anyone know of any good on-line sources. I checked Google, 
Threadneedle Street and Thread Express, no go. Actually Threadneedle 
had it, but it's real metal. I think I'm a bit too new at this for real 
metal and real metal prices.

Thank you!
Laurie

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>
> In the oh-so-nifty Italian book that is living with me, there are
> color photos of what's left of Eleonora's burial gown (white satin
> originally). I'm on my way out of town right now; I'll scan it when I
> get home Sunday.

Is this the "oh-so-nifty Italian book" that also had the Really Good
Copy of the circular image of Eleanora in the Red Dress in it?  I know
that you said what book it was in, but the email with that information
has evidently run away from home.  :-(  I'm fixing to hit up ILL .....

Jerusha
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Durer's shirt
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   Wow, that's a great article!  Haven't gotten much into the smocked sort of undies (yet..<G>)
because my compulsion has been blackwork, but this definitely has me considering taking up a
new hobby this winter....
   Still wish old Albrecht would take of his jacket in one of those self-portraits, though, so I could see
exactly how the sleeves go on....<G>  ( I was startled last night to find a "nude self portrait" - he was
apparently very proud of himself, but didn't show us his shirt...<G>)


Thanks!
Liadain
  

-----Original Message-----
From: Sue Clemenger <mooncat@in-tch.com>
Sent: Oct 25, 2004 7:33 AM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Durer's shirt

I haven't done that style (yet...<g>), but here's a good article:
http://www.bellomarisco.com/smocking.php
--sue



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Subject: Re: [h-cost] Durer's shirt
From: Lynn Downward <ldownward@chori.org>
To: h costume <h-costume@indra.com>
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Tracy said:
>    Still wish old Albrecht would take of his jacket in one of those
> self-portraits, though, so I could see
> exactly how the sleeves go on....<G>  ( I was startled last night to find a
> "nude self portrait" - he was
> apparently very proud of himself, but didn't show us his shirt...<G>)
> 
I remember my art history teacher going 'off' on Durer for this very reason.
He showed us several points proving that Durer was a self-absorbed dandy
even more than other artists and, so my teacher said, in some sort of
competition with others at the time. He spent lots of money on clothes and
depicted himself in the newest, best styles. His hair in a couple of
self-portraits was extra-long (think of Durer as the Incroyable of his time)
I can't remember why but the hats Durer wore were also something that the
teacher pointed out at great length. Perhaps someone who had their art
history classes sometime since 1973 would remember a discussion of these
symbols of dandyism and coolness better than I do.

LynnD


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http://www.berlinembroidery.com/bullions.htm

But check the rest of the site. It's amazing.
  
----- Original Message ----- 
From: <randl@adelphia.net>
To: <h-costume@indra.com>
Sent: Monday, October 25, 2004 11:07 AM
Subject: [h-cost] More thread for dummies


> This time I'm looking for a gold bullion thread. Not real gold, but a 
> nice faux-gold.
> 
> Does anyone know of any good on-line sources. I checked Google, 
> Threadneedle Street and Thread Express, no go. Actually Threadneedle 
> had it, but it's real metal. I think I'm a bit too new at this for real 
> metal and real metal prices.
> 
> Thank you!
> Laurie
> 
> _______________________________________________
> 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] Durer's shirt
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  German Renn isn't really my style - are his hats really that outrageous?
My big impression of the whole style/era is slashy-poofy-feathery...<G>

Liadain


-----Original Message-----
From: Lynn Downward <ldownward@chori.org>
Sent: Oct 25, 2004 11:03 AM
To: h costume <h-costume@indra.com>
Subject: Re: [h-cost] Durer's shirt




I remember my art history teacher going 'off' on Durer for this very reason.
He showed us several points proving that Durer was a self-absorbed dandy
even more than other artists and, so my teacher said, in some sort of
competition with others at the time. He spent lots of money on clothes and
depicted himself in the newest, best styles. His hair in a couple of
self-portraits was extra-long (think of Durer as the Incroyable of his time)
I can't remember why but the hats Durer wore were also something that the
teacher pointed out at great length. Perhaps someone who had their art
history classes sometime since 1973 would remember a discussion of these
symbols of dandyism and coolness better than I do.

LynnD



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I raided Half Price Books in Addison, TX last night, and boy was I glad
I did!!  I collected:

Momoyama - an exhibit catalog from 1996, Dallas, with all sorts of
lovely things for my "Japanese" daughter, and lots of historical info as
well.

"How to Trace Your Jewish Roots" (Rabbi Jo David)to aid my part-Hebrew
husband's search for the truth of his roots.

Issue #5 of "Fancywork" which includes articles on Israeli Yemenite
Embroidery, Hedebo, Blackwork, Japanese Silk Work, and Chinese Two-sided
Embroidery.  Yum!!

The Unicorn Tapestries (Linda Sipress/Margaret B. Freeman).  Lovely,
lovely photos and good descriptions of tapestries that contain unicorns.

Medieval Life and Leisure in the Devonshire Hunting Tapestries (Linda
Woolley).  Up-close photos of people in these tapestries, showing
clothing, hats, you name it in good to incredible detail. 

Returning to lurk mode because if I don't finish packing, we cannot move
this weekend!!

Gerita 



People are like stained glass windows.  They sparkle and shine when the
sun is out, but when darkness sets in, their beauty is revealed only if
there is a light from within. -- Elizabeth Kübler-Ross


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From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: [h-cost] Difference between the first bustle period and second
	bustle period?
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Hi,

Is there any difference between the first bustle period and second 
bustle period?
Like in shape or decoration?

Greetings,
       Deredere

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Date: Mon, 25 Oct 2004 11:50:45 -0700
Subject: Re: [h-cost] Durer's shirt
From: Lynn Downward <ldownward@chori.org>
To: h costume <h-costume@indra.com>
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Yes, but there was something special about his hats, and I would give a lot
to remember why it was so outrageous. Maybe it was just way ahead of its
time and outrageous for that reason. But the hair was too-too much at the
time. You've got to remember, I'm old and I was young when I took Art
History - in a darkened lecture hall at 8 am, before I knew how important
this stuff would eventually be to me.

LynnD


> From: Frank and Tracy Thallas <hardcorps@earthlink.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Mon, 25 Oct 2004 11:50:33 -0600 (GMT-06:00)
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] Durer's shirt
> 
> 
>   German Renn isn't really my style - are his hats really that outrageous?
> My big impression of the whole style/era is slashy-poofy-feathery...<G>
> 
> Liadain
> 
> 
> -----Original Message-----
> From: Lynn Downward <ldownward@chori.org>
> Sent: Oct 25, 2004 11:03 AM
> To: h costume <h-costume@indra.com>
> Subject: Re: [h-cost] Durer's shirt
> 
> 
> 
> 
> I remember my art history teacher going 'off' on Durer for this very reason.
> He showed us several points proving that Durer was a self-absorbed dandy
> even more than other artists and, so my teacher said, in some sort of
> competition with others at the time. He spent lots of money on clothes and
> depicted himself in the newest, best styles. His hair in a couple of
> self-portraits was extra-long (think of Durer as the Incroyable of his time)
> I can't remember why but the hats Durer wore were also something that the
> teacher pointed out at great length. Perhaps someone who had their art
> history classes sometime since 1973 would remember a discussion of these
> symbols of dandyism and coolness better than I do.
> 
> LynnD
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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>
> Yes, but there was something special about his hats, and I would give a lot
> to remember why it was so outrageous. Maybe it was just way ahead of its
> time and outrageous for that reason. But the hair was too-too much at the
> time. You've got to remember, I'm old and I was young when I took Art
> History - in a darkened lecture hall at 8 am, before I knew how important
> this stuff would eventually be to me.

Oh, isn't that the truth.  I've learned more Art History in the last year
and a half than I ever did when I flunked AH as a freshman ......  (I
don't memorize stuff well .....)

Jerusha
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Subject: Re: [h-cost] Difference between the first bustle period and
	secondbustle period?
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----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
> Is there any difference between the first bustle period and second
> bustle period?
> Like in shape or decoration?

Yep! The difference in decoration is much more subtle than the difference in
shape--different types of fringe or lace, for example--and a lot of the
decorative techniques do carry over.

However, the shape and silhouette is quite different; the first bustle
period had a higher waist (much higher, some years--enough to call it an
empire waist) and a more conical skirt, and the bustle itself sat higher on
the back. The front of the bodice generally ended in a straight horizontal
line at the waist, rather than a point below the waist as in the 2nd bustle
period. Around 1873 the bodices begin to extend past the waist, but the
waist remains high until 1876.

And of course, the ways in which the bustles were draped are quite
different! The first bustle styles were generally based on the main skirt
fabric being pulled up and back into place; if you pulled it apart it would
be vaguely similar to a normal skirt. The bustles of the 2nd bustle period
where a lot more complex, with added puffs and layers upon layers and things
that wrapped around and and andandand... The early 1880s were probably the
most complex years in terms of figuring out the pattern they used to get the
fabric to do that, but the overall effect of complexity through either the
pattern used or the trim added continued until around 1888 or 89.


-E House
Liberty in Our Lifetime - www.freestateproject.org
Coming Soon - http://www.seamcheckers.com

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Subject: [h-cost] Henry VIII
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In case no one saw the previews after the finale of The Lost Prince on
Masterpiece Theater last night they are doing a Henry VIII movie t his
fall and it looks good and the costumes look typical. Helena Bonham
Carter as Anne Boleyn is the biggest name from what I can see.
http://www.pbs.org/previews/masterpiece_henryVIII/

-- 
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Difference between the first bustle period and
	secondbustle period?
Date: Mon, 25 Oct 2004 14:55:04 -0500
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The first bustle period(c1867-1878)evolved from the hoop skirt so its shape
is different. Look at illustrated ads for tournures for the time. The shape
is more draped and the bustle itself seemed to aim at accenting that rear
projection while keeping some softness. Among the wealthy, even day dresses
had trains to emphasize the back fullness, and to show off a richness of
lace and fabric pleatings and gatherings. The advent of aniline dyes in the
1860s produced very bold and different colors and color combinations. There
is more assymmetry in the "haute couture" in this era , which culminated in
the large pocket or just a fake pocket flap on one side of many gowns around
1876-7. Hats are smaller than in the second bustle period and sit far back
on the head, echoing in tandem with the hairstyle, the drapped and bustle
shape of the gown.  The most popular hairstyle was waved and center-parted
with a slight rise in back with lots of variations in the back and side hair
styling in waves, curls and braids to create a "bustled" hairstyle.  False
hair was very much in vogue, and most additions to natural hair are very
apparent in surviving photographs.

The second bustle period(c1882-1888)evolved from the very tailored straight
line of 1878-1882, where skirts, underskirts, and petticoats, could still to
our eyes, contain a great deal of material but the skirt fullness was pulled
in with drawstrings and tapes to produce a very narrow line. Straight bangs
or "fringes" became popular and while wavy or curly hair remained popular,
the waves and curls found themselves more strictly controlled, almost
sculptured to go with the more sculptured and controlled line. The corset
really starts being condemmned by medical and other experts as fashion
decreed a very small waist(the now classic "hourglass shape") desired by
many, but obtained only by a few.  Don't condemm it totally, in reality
tight-lacing was practiced by fewer females than we think and was probably
no worse than excessive dieting and plastic surgery to get the "right" shape
is today.  The main difference was the tournure or bustle itself. Shaped
more up and out, during its most extreme form(circa 1884-6), critics claimed
one could have balanced a loaded tea tray on the top back skirts it
supported. Hats became less bonnet-like, with larger crowns, and defined
brims that were raised in front before they lowered to the flat "sailor
style" variation of the 1890's. If you look at photographs of 1880's
fashionably-dressed women, you will notice that even few of those really
meet the too tightly corseted ideal and the fit of their gowns in the bodice
area often shows the horizontal creases of a too-tight fit in the bodice.
Many illustrious photographers of the era retouched the photos of their even
more illustrious female clients, so that they would appear to have the
perfect hourglass figure.

Hope this helps

Cindy Abel



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At 08:43 AM 10/23/2004 -0700, you wrote:
>Many of you have talked about how much you enjoy playing in faires (Renn, 
>Dickens etc) How do you become members? I'd love to check it out. I am 
>located in the southwest corner of AZ (4mi from CA :-) Info pretty please??
>                           Angelique


I replied to her offline. Anyone else want to advise?

Kimiko


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Date: Mon, 25 Oct 2004 16:56:15 -0700 (PDT)
From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost]  first bustle vs. second bustle period?
To: Historical Costume <h-costume@indra.com>
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1870's bustle--hoop moving back (starting c. 1858 per
Boucher), so it's a sloped, partial bell-shape.

1880's bustle--much more right angle from the back
waist.

The cut of the skirt was different too--the 1880's
started with a skirt & then draped every which way
over it.
The 1870's skirt was actually draped in place with
nothing to start on.
Norah Waugh's Cut of Women's Clothing or J. Arnold's
Patterns of Fashion shows the difference clearly.


Of course, I was dating all the garments Wrong at the
Mark Twain house exhibit "Modesty Died when Clothes
Were Born", and most that confused me were 1870-80's.
Katie B mentioned it on this list a month or so ago.

Look at the usual suspects--Victorian photography
books, fashion periodicals & the Cunnington's handbook
that cover the third quarter of the nineteenth
century.

Ann in CT

--- Deredere Galbraith <triade@kabelfoon.nl> wrote:

> Is there any difference between the first bustle
> period and second 
> bustle period?
> Like in shape or decoration?
> 
>        Deredere


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>Many of you have talked about how much you enjoy playing in faires (Renn, 
>Dickens etc) How do you become members? I'd love to check it out. I am 
>located in the southwest corner of AZ (4mi from CA :-) Info pretty please??

Find the website of the Faire you want to participate in, and find out when 
hiring day and workshops are.  Show up there/then and look interested, and 
maybe sign up on the spot.  This should be good for any period of Faire 
you're looking for, anywhere in the US.


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

              //// \\\
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Hedgehog Handiworks sells it, or at least, they used to!
--sue, who has intentions to get back to her goldwork as soon as the 
holiday crunch is over ;o)

randl@adelphia.net wrote:
> This time I'm looking for a gold bullion thread. Not real gold, but a 
> nice faux-gold.
> 
> Does anyone know of any good on-line sources. I checked Google, 
> Threadneedle Street and Thread Express, no go. Actually Threadneedle had 
> it, but it's real metal. I think I'm a bit too new at this for real 
> metal and real metal prices.
> 
> Thank you!
> Laurie

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Subject: [h-cost] Re: Bullion thread
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Now that the craft stores, etc. have their Xmas stuff out, here's a 
suggestion:  In with the ornaments, tinsel, etc., you can sometimes find 
coiled metal (looks like tiny springs) used as tinsel.  The texture is a 
bit coarser than the actual metal bullion thread, but it is LOTS cheaper (a 
couple of bucks for a good sized bundle).  Good to practice with.  I have 
some in copper, silver, red, and blue, but haven't used it yet......

Don't overlook places like Home Depot or Menards - some of my most 
interesting costume trims (AKA Xmas decorations) have come from there.

Sandy

At 01:01 PM 10/25/2004, you wrote:
>From: randl@adelphia.net
>Subject: [h-cost] More thread for dummies
>
>This time I'm looking for a gold bullion thread. Not real gold, but a
>nice faux-gold.
>
>Does anyone know of any good on-line sources. I checked Google,
>Threadneedle Street and Thread Express, no go. Actually Threadneedle
>had it, but it's real metal. I think I'm a bit too new at this for real
>metal and real metal prices.
>
>Thank you!
>Laurie

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

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

Andromeda  


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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Difference between the first bustle period
	andsecondbustle period?
Date: Tue, 26 Oct 2004 00:44:09 -0400
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Status: RO

Deredere,

There are eight different shape changes in the bustle era.  I highly recommend the book "Victorian Costume for Ladies: 1860-1900, ISBN: 0-7643-1054-2.  The author really divides up these years so that you can see what the specific changes were.  

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Bullion thread
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>Now that the craft stores, etc. have their Xmas stuff out, here's a 
>suggestion:  In with the ornaments, tinsel, etc., you can sometimes find 
>coiled metal (looks like tiny springs) used as tinsel.  The texture is a 
>bit coarser than the actual metal bullion thread, but it is LOTS cheaper 
>(a couple of bucks for a good sized bundle).  Good to practice with.  I 
>have some in copper, silver, red, and blue, but haven't used it yet......

Went to WalMart today and found what they have.  In metal it would be 
called "check purl", and the coils are square in cross section, not round 
like regular purl.  I'm still looking for the regular round kind.


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

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Subject: [h-cost] comparing and sleeves was: image of Jane Grey?
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Status: RO

I was also comparing these two pictures as well. I disagree with hands being
in the same position, as if the book was removed. The left hand of E is
turned slightly so that the palm is somewhat facing up. On the right in E
the pinky is curled where in the J it is straight. Their pose is similar, a
very popular position so it would seem for most artist of this era, though I
will admit I am not an expert of this era. Lots of similarities and yet
differences. The poses do make you take a second look.

What has caught my attention is in the portrait of E, the way the left
sleeve lays on top of the false sleeve. Is this indication of a stiff false
sleeve or where the false sleeve ends?
Also, the ratio of chemise sleeve does not seem to match the cuff ruffle.
Was there false chemise sleeves added to the false sleeves? In J the cuff
ruffle material does not seem to match the chemise sleeve material.

De

-----Original Message-----
  Okay, took me a minute -
    You're right, the Catherine Parr pic is similar but obviously different.
I didn't make myself
clear - I was comparing

http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg

to

http://www.marileecody.com/gloriana/princesselizabethscrots.jpg

   as being very very similar.  BTW, does anyone know to whom the "Jane
Grey" pic is attributed,
or where it is?

Liadain



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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] comparing and sleeves was: image of Jane Grey?
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At 01:57 26/10/2004 -0500, you wrote:
>I was also comparing these two pictures as well. I disagree with hands being
>in the same position, as if the book was removed. The left hand of E is
>turned slightly so that the palm is somewhat facing up. On the right in E
>the pinky is curled where in the J it is straight. Their pose is similar, a
>very popular position so it would seem for most artist of this era, though I
>will admit I am not an expert of this era. Lots of similarities and yet
>differences. The poses do make you take a second look.


Possibly the same painter, using the same lay figure, and only adding the 
face later. This was done on a regular basis. (Many portraits of Queen 
Elizabeth were made using a !face pattern" like a stencil, and the painter 
never saw Her Majesty! ) You can tell sometimes by the fact that the dress 
is put on crooked!!


>What has caught my attention is in the portrait of E, the way the left
>sleeve lays on top of the false sleeve. Is this indication of a stiff false
>sleeve or where the false sleeve ends?
>Also, the ratio of chemise sleeve does not seem to match the cuff ruffle.
>Was there false chemise sleeves added to the false sleeves? In J the cuff
>ruffle material does not seem to match the chemise sleeve material.
>
>
>
>http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg
>
>to
>
>http://www.marileecody.com/gloriana/princesselizabethscrots.jpg
>
>    as being very very similar.  BTW, does anyone know to whom the "Jane
>Grey" pic is attributed,
>or where it is?

As for the false sleeve, in practice the easiest way to make these is to 
make false pieces to simulate a chemise. See Hunnisett "Period Costume for 
Stage and Scree 1500-1800". It is therefore highly likely in my opinion, 
that the chemise ruffle is related to the chemise, but not to the false sleeve.

Suzi



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Subject: Re: [h-cost] Difference between the first bustle
	period	andsecondbustle period?
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Thanks for the information!
I want to make a bustle dress for an Archery competition next year in 
August.
It is the 10th time they organise an archery competition in an openair 
museum in the Netherlands.
And I promised them that I would come in bustle dress since in the 19th 
century lady's were alloud to do archery.
I like those bustle dresses but I am still looking for wich stile I 
would like to go.

Greetings,
       Deredere

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Subject: [h-cost] tatting, purling and macrame
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I am a part of a current discussion as to the age of the crafts of tatting and knotting. How early do these techniques appear and what forms do they take or develop into?
Powrys and Palliser both suggest that the earlier form of tatting was actually "purling" which certainly was being used in the 16th century, and was re discovered in the 19th in form and method as we know it today.  Anyone who can direct me to an earlier illustration?
Macramé seems definitely to connect with Genoa and shows up in many new lace techniques that were being developed there...from what I can see.
Any comments?

Kathleen
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Younger Eleonora in red
References: <5.2.1.1.0.20041017231633.00b158b8@64.87.54.245>	<175C4793AFE4AB4596D4C17CCC98FD96854DD1@wo-exch2003.wideorbit.com>	<41706DE3.1070606@thibault.org>	<5.2.1.1.0.20041017231633.00b158b8@64.87.54.245>	<5.2.1.1.0.20041018005632.02520008@64.87.54.245>	<001701c4b4fd$29c46980$1902a8c0@duncan>
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Status: RO

Sorry I have been out of the loop for awhile, but thank you for this 
picture.  I had not seen it before.  Now I have 5 different portraits of 
her in my stash.  Does anyone have any more and did this discussion 
group ever find the portrait of young Elenora in red/pink that I had 
refered to earlier?  I still have that if anyone wants that pic.

Sg

ailith wrote:

>Ok...it's at http://geocities.com/brendoken/eleonora.html
>
>This is an old site that I own...there's nothing there but Eleonora
>now.
>
>
>  
>
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Status: RO

Ya'll are just going to laugh at me, I know it, but I will admit that when  I 
first saw this pic of Jane Grey that we are currently discussing, my 
immediate  thought was that it was not a period piece, but one from a later time.  I  
still believe that, but since ya'll are sure it is authentic to the period, I  
will concede that I made a snap judgement and happily embrace this lovely  
portrait for what it is.
 
The painting seems to me to have a depth of character that I have not noted  
in other period portraits, and you can almost sense the pathos and tragedy 
ahead  of her when you look into her eyes.  I don't know why, but this, combined  
with the very artistic shading, just struck me as something from a later era, 
 perhaps done by someone based on authentic period portraits but going one 
step  further.  Most of the other portraits seem so flat and undimensional, if  
you know what I mean, and yet when you look at Jane Grey in this one, you feel 
 as though you are truly seeing her.
 
I have hugely enjoyed all of the discussion on this subject and thank  
everyone for participating and sharing their thoughts.
 
~Kimberley....who is still trying to justify making the sleeves of a 1530  
Florentine gown with a different velvet than the skirt and bodice and  cannot 
find any documention. (grump)
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Date: Tue, 26 Oct 2004 04:57:38 -0500
Subject: Re: [h-cost] the Jane Grey pic
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Status: RO

Actually, I thought the second 'Jane Grey' picture was a copy done at a
later, possibly Victorian, time. There are stylistic subtleties that just
don't match with what I'm used to looking at in Elizabethan
portraiture......and I look at alot of them! As later copies go, it's
very good, but I agree with Kimberley (you can laugh at both of us!) that
it's not a contemporary piece.


Karen



On Tue, 26 Oct 2004 09:05:34 EDT Chindora@aol.com writes:
> Ya'll are just going to laugh at me, I know it, but I will admit that 
> when  I 
> first saw this pic of Jane Grey that we are currently discussing, my 
> 
> immediate  thought was that it was not a period piece, but one from 
> a later time.  I  
> still believe that, but since ya'll are sure it is authentic to the 
> period, I  
> will concede that I made a snap judgement and happily embrace this 
> lovely  
> portrait for what it is.
>  
> The painting seems to me to have a depth of character that I have 
> not noted  
> in other period portraits, and you can almost sense the pathos and 
> tragedy 
> ahead  of her when you look into her eyes.  I don't know why, but 
> this, combined  
> with the very artistic shading, just struck me as something from a 
> later era, 
>  perhaps done by someone based on authentic period portraits but 
> going one 
> step  further.  Most of the other portraits seem so flat and 
> undimensional, if  
> you know what I mean, and yet when you look at Jane Grey in this 
> one, you feel 
>  as though you are truly seeing her.
>  
> I have hugely enjoyed all of the discussion on this subject and 
> thank  
> everyone for participating and sharing their thoughts.
>  
> ~Kimberley....who is still trying to justify making the sleeves of a 
> 1530  
> Florentine gown with a different velvet than the skirt and bodice 
> and  cannot 
> find any documention. (grump)
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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I am an archer and a historic costumer starting to branch out into
Victorian. I have a couple of period pictures of women doing archery in
bustle dresses. If you'd like I can send them to you so you can see if
you like any of the styles.


Karen


On Tue, 26 Oct 2004 12:41:22 +0200 Deredere Galbraith
<triade@kabelfoon.nl> writes:
> Thanks for the information!
> I want to make a bustle dress for an Archery competition next year 
> in 
> August.
> It is the 10th time they organise an archery competition in an 
> openair 
> museum in the Netherlands.
> And I promised them that I would come in bustle dress since in the 
> 19th 
> century lady's were alloud to do archery.
> I like those bustle dresses but I am still looking for wich stile I 
> 
> would like to go.
> 
> Greetings,
>        Deredere
> 
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> 

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Date: Tue, 26 Oct 2004 06:58:37 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] tatting, purling and macrame
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At 08:14 AM 10/26/2004 -0400, you wrote:
>I am a part of a current discussion as to the age of the crafts of tatting 
>and knotting. How early do these techniques appear and what forms do they 
>take or develop into?
>Powrys and Palliser both suggest that the earlier form of tatting was 
>actually "purling" which certainly was being used in the 16th century, and 
>was re discovered in the 19th in form and method as we know it 
>today.  Anyone who can direct me to an earlier illustration?
>Macramé seems definitely to connect with Genoa and shows up in many new 
>lace techniques that were being developed there...from what I can see.
>Any comments?
>
>Kathleen

Tatting as we know it today is mid-19th century.  The earliest instructions 
describe only rings, with threads between the rings covered later by 
buttonhole stitches.  The working of chains was first described in, I 
believe, the 1850s or 1860s.
I'm not certain what you are describing as "purling".  I have heard of 
"knotting", basically making strings of knots, which can be couched down 
for decoration (and we do have examples from the 16th century).  Fly 
fringe, very popular in the late 18th century, was worked in this way, 
though in a more complicated pattern than just strings of knots (and I 
still want to learn how to do it).



Joan Jurancich
joanmj@surewest.net


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I'm not so sure that the picture is authentic.  And unless I have missed 
someone giving a cite for it - then I'm going to withhold judgement until I 
get to see the original... or at least a far better image of the portrait.

My two cents.
Mari / Bridgette


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Subject: [h-cost] Help with British Terms
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I'm looking at an Elizabethan embroidery book that has several terms I don't know for items necessary for backing the satin before embroidering.

What is vilene?  

What is contact?  I don't think it's like the U.S. sticky Contact paper.  Can't imagine that with embroidery.

What is calico?  I know it as a printed fabric from the 1800's, but that can't be right in this context.

Thanks
Juliet

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Vilene is a brand of iron-on interfacing. Calico is a plain cotton
fabric.



Kate Bunting
Library, University of Derby

>>> jtknits@jtknits.cts.com 26/10/2004 16:23:43 >>>
I'm looking at an Elizabethan embroidery book that has several terms I
don't know for items necessary for backing the satin before
embroidering.

What is vilene?  

What is contact?  I don't think it's like the U.S. sticky Contact
paper.  Can't imagine that with embroidery.

What is calico?  I know it as a printed fabric from the 1800's, but
that can't be right in this context.

Thanks
Juliet

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Yes I really really would love to have them!!!!!!!!
:-) :-) :-)
Please send them.
Thanks,
         Deredere

seamstrix@juno.com wrote:

>I am an archer and a historic costumer starting to branch out into
>Victorian. I have a couple of period pictures of women doing archery in
>bustle dresses. If you'd like I can send them to you so you can see if
>you like any of the styles.
>
>
>Karen
>
>
>On Tue, 26 Oct 2004 12:41:22 +0200 Deredere Galbraith
><triade@kabelfoon.nl> writes:
>  
>
>>Thanks for the information!
>>I want to make a bustle dress for an Archery competition next year 
>>in 
>>August.
>>It is the 10th time they organise an archery competition in an 
>>openair 
>>museum in the Netherlands.
>>And I promised them that I would come in bustle dress since in the 
>>19th 
>>century lady's were alloud to do archery.
>>I like those bustle dresses but I am still looking for wich stile I 
>>
>>would like to go.
>>
>>Greetings,
>>       Deredere
>>
>>_______________________________________________
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From h-costume-bounces@indra.com  Tue Oct 26 13:06:01 2004
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] the Jane Grey pic
Date: Tue, 26 Oct 2004 11:04:34 -0600
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  I'd been trolling web museum after web museum for portraits with blackwork 
at the time these pics came up, and I got the same exact sense from the 
"Jane" pic - something pretty subtle was off.  Somehow she just doesn't look 
"flat" enough, if you get my meaning,  to fit in with all the other 
paintings I'd been seeing.  I'm not sure if anyone ever said - do we have an 
attribution for this painting?  Do we know where, physically, it is?

Liadain

----- Original Message ----- 
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Tuesday, October 26, 2004 3:57 AM
Subject: Re: [h-cost] the Jane Grey pic


> Actually, I thought the second 'Jane Grey' picture was a copy done at a
> later, possibly Victorian, time. There are stylistic subtleties that just
> don't match with what I'm used to looking at in Elizabethan
> portraiture......and I look at alot of them! As later copies go, it's
> very good, but I agree with Kimberley (you can laugh at both of us!) that
> it's not a contemporary piece.
>
>
> Karen
mailman/listinfo/h-costume
> 


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Subject: Re: [h-cost]  first bustle vs. second bustle period?
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In a message dated 10/25/2004 8:00:38 PM Eastern Standard Time, 
elvestoorder@yahoo.com writes:

> 1880's bustle--much more right angle from the back
> waist.


The early bustle silhouette from the front has that sorta wide bell shape 
with the hoop all the way around the figure, coming from a slightly raised waist 
and the 80s bustle has a clearly defined natural waistline and a narrower, 
column-like silhouette from the front, with the underpinnings just at the back.

> 
> The cut of the skirt was different too
> 
> 

Also the bodice. The early bodices are cut like the earlier 1860s with a 3 
piece back or the "new" princess line with side back seams that go up into the 
shoulder seam...making a 3 or 4 piece back and no waist seam [but often a 
horizontal fish dart at the sides].

In the 80s the back of the bodice usually has a narrow panel where the 
princess seam used to be making a 6 piece back with the extra back piece going into 
the armseye. And skirts and bodices are very often separate again.

Sleeves change too. The earlier sleeves being not so tight as their later 
counterparts and often elbow length with elaborate ruffles or cuffs to finish 
them off. They get tighter and plainer as the style progresses.


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> In case no one saw the previews after the finale of The Lost Prince on
> Masterpiece Theater last night they are doing a Henry VIII movie t his
> fall and it looks good and the costumes look typical. Helena Bonham
> Carter as Anne Boleyn is the biggest name from what I can see.
> http://www.pbs.org/previews/masterpiece_henryVIII/

I hope she lets them fit her for her corset better than the one she 
wore as Jane Grey. (But perhaps Anne Boleyn won't slouch they way 
they had her do as Jane.)

Kat
<kat@redtrollforge.com>


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> Went to WalMart today and found what they have.  In metal it would be
> called "check purl", and the coils are square in cross section, not
> round like regular purl.  I'm still looking for the regular round
> kind.

Keep looking. I've gotten plenty of the "check purl" stuff over the 
years but occasionally they also have the smooth purl. It sure helps 
cut costs when doing some of the gold work where you want to use more 
than just a small amount.

Kat
<kat@redtrollforge.com>


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On Tue, 26 Oct 2004 10:27:06 -0700, kat@redtrollforge.com
<kat@redtrollforge.com> wrote:
> I hope she lets them fit her for her corset better than the one she
> wore as Jane Grey. (But perhaps Anne Boleyn won't slouch they way
> they had her do as Jane.)
> 
> Kat
> <kat@redtrollforge.com>

Well the previews didn't look bad the worst thing I saw was one of the
women with hair peeking out the bottom of her french hood which I find
annoying.  Yeah I know nit picky but that's what hairpins are for.
Good grief.

B~
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Date: Tue, 26 Oct 2004 10:40:42 -0700
Subject: Re: [h-cost] Henry VIII
From: Lynn Downward <ldownward@chori.org>
To: h costume <h-costume@indra.com>
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I don't think there's a corset in the world to keep Bonham Carter from
slouching; I've never seen her in anything where she didn't.

LynnD


> From: <kat@redtrollforge.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Tue, 26 Oct 2004 10:27:06 -0700
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] Henry VIII
> 
> 
>> In case no one saw the previews after the finale of The Lost Prince on
>> Masterpiece Theater last night they are doing a Henry VIII movie t his
>> fall and it looks good and the costumes look typical. Helena Bonham
>> Carter as Anne Boleyn is the biggest name from what I can see.
>> http://www.pbs.org/previews/masterpiece_henryVIII/
> 
> I hope she lets them fit her for her corset better than the one she
> wore as Jane Grey. (But perhaps Anne Boleyn won't slouch they way
> they had her do as Jane.)
> 
> Kat
> <kat@redtrollforge.com>
> 
>


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*g* She kinda does in this one too. And it's not even a good
debutante's slouch at that.


On Tue, 26 Oct 2004 10:40:42 -0700, Lynn Downward <ldownward@chori.org> wrote:
> I don't think there's a corset in the world to keep Bonham Carter from
> slouching; I've never seen her in anything where she didn't.
> 
> LynnD
-- 
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Date: Tue, 26 Oct 2004 10:19:52 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Help with British Terms
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>What is calico?  I know it as a printed fabric from the 1800's, but that 
>can't be right in this context.

They say calico where Americans say muslin, as in the bleached/unbleached 
stuff, not as in the fine stuff that English Regency dresses might be made of.


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

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From: pixel <goddessandqueen@gmail.com>
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Subject: [h-cost] a medieval livery question
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My SO remembers a reference somewhere about a medieval lord who
clothed all his retainers in green. Unfortunately he can't remember
where he read it, which is hampering my efforts to use the reference
in my current research. Does it sound familiar to anyone?

Thanks!

Margaret/Pixel
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Difference between the
	firstbustle	period	andsecondbustle period?
Date: Tue, 26 Oct 2004 13:16:50 -0500
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I just got Fashions of the Gilded Age Volume 1 from Amazon.com this morning.
Haven't had time for a full perusal, but vol 1 has scale patterns from
underwear to dresses 1877-1882. Vol 2(to be obtained by me at a later
date)has ballgowns, wedding dresses, and outerwear. Frances Grimble is the
editor of both and also has published a book of scale patterns for
1867-9(the begining of the first bustle phase.) The 1877-82 volumes cover
the years where the first bustle period was giving away to a longer,
straight up and down with reduced bustle in back, just before the "tea-tray"
type bustle debuted at mid-decade.  Go to www.lavoltapress.com for more info
and to order if you don't want to wait for Amazon or bn.com to get Frances
Grimble's books in. Frances has done an invaluable service for us historic
costume buffs whether we dress humans or dolls with her scale pattern books
covering years where original source patterns haven't been republished.
Frances Grimble's "Fashions of the Gilded Age" volumes look quite lovely to
the eyes of 2004 as the general line is slim and vertical with bust waist
and hips all well-defined, and the trains appear romantic(unless you have to
wear and handle them--but it is always something--the lady of 1877 would
doubtless think our high heels and constant obsession with what we eat
unreasonable and our present clothing too scant and definately immodest!)

Also see Stella Blum's "Fashions from Harper's Bazaar:1867-1898. Many
illustrations from both bustle periods and you get a really good feel for
the evolution of fashion in this era for the very rich.

Hope this helps!

Cindy Abel

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From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] a medieval livery question
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Lok it up in "Dress in the Age of the Black Prince"   Use the index to find 
Lincoln Green.   That should do it for you.  Sorry I don't have a copy here 
or I'd do it for you.

Mari / Bridgette


>My SO remembers a reference somewhere about a medieval lord who
>clothed all his retainers in green. Unfortunately he can't remember
>where he read it, which is hampering my efforts to use the reference
>in my current research. Does it sound familiar to anyone?
>
>Thanks!
>
>Margaret/Pixel
>_______________________________________________
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Greetings All!

After reading the various e-mails for the last couple weeks about extant clothing and such, I am wondering where other people stand on the subject of opening tombs/crypts to study Textiles/Costumes from earlier eras.  I would really like to get other opinions, before I post my own.  However, if you feel this is not something that belongs on this list, but you wish to give me your opinions anyway, please feel free to contact me in private.

Thanks in advance,

-- 
Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole

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From: Katie Pleasance <Katie@katiesorchids.com>
Subject: [h-cost] Crypts and Costume Research (Sort of Off Topic)
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I think it's ghoulish and ghastly and reprehensible.

Katie

At 02:37 PM 10/26/2004 -0400, you wrote:
>Greetings All!
>
>After reading the various e-mails for the last couple weeks about extant 
>clothing and such, I am wondering where other people stand on the subject 
>of opening tombs/crypts to study Textiles/Costumes from earlier eras.  I 
>would really like to get other opinions, before I post my own.  However, 
>if you feel this is not something that belongs on this list, but you wish 
>to give me your opinions anyway, please feel free to contact me in private.
>
>Thanks in advance,
>
>--
>Kit
>If you walk a mile in someone else's shoes, do you get to keep them? - 
>Kenneth Cole
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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Is tomb excavation often done solely to study the costume and textiles 
(on the body and/or grave goods) of the deceased?  Or is it normally done:

(a) In the context of overall archeological research, to find out what 
the burial indicates about the culture as a whole

Or (b) in the course of necessary alterations to a building or other 
area where the tombs are?  For example, the lower part of the church 
needs to be buttressed more to support the building, the people buried 
there must be moved for this work to take place, and since the tombs 
must be opened this is a good opportunity for archaeological study?

Also, why do you need to find out what other people's opinions on tomb 
excavation are before posting yours?  A wide variety of opnnions are 
listened to and discussed this list, so I'm sure yours would be also.

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com


Kitsune242@aol.com wrote:

>Greetings All!
>
>After reading the various e-mails for the last couple weeks about extant clothing and such, I am wondering where other people stand on the subject of opening tombs/crypts to study Textiles/Costumes from earlier eras. 
>  
>
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Subject: Re: [h-cost] Crypts and Costume Research (Sort of Off Topic)
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Hi,
It is a very very difficult topic you found here, but it is exciting.
There are some crypts wich are examined by nescesity, i think about the
royal burrial at Roskilde Cathedral where some of the kings small children
was excamined. I was at a lecture with one of the ladies who did the
examination.
She told us that it was because the coiffins were falling apart that they
had to do it, and it was not intended that they should have examined the
children at all. But it was desided because the finds was very exceptionel
and interresting.
There are many considerations to make in such matters, and relligious
spekulation two.
I for myself dont think it is a break of the grave peace or what you would
call it. It is just their dead body lying there, their spirits are not there
any longer, so my two cents is it doesnt matter.
Apropos this topic, when i was at Gammel Estrup to deliver my costume for
the museum, i ate lunch with some of the curators, and they told me about
some coiffins wich was excamined in a church here in Copenhagen. Many of the
bodyes was from a big fire in a opera house wich burned in 1684. Many of the
bodyes was balmed and therefore they were well preserved. They told me that
the ladies upper body was coneshaped like the corsets.
I would for one thing have loved to se this!

Bjarne
----- Original Message ----- 
From: <Kitsune242@aol.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 26, 2004 8:37 PM
Subject: [h-cost] Crypts and Costume Research (Sort of Off Topic)


> Greetings All!
>
> After reading the various e-mails for the last couple weeks about extant
clothing and such, I am wondering where other people stand on the subject of
opening tombs/crypts to study Textiles/Costumes from earlier eras.  I would
really like to get other opinions, before I post my own.  However, if you
feel this is not something that belongs on this list, but you wish to give
me your opinions anyway, please feel free to contact me in private.
>
> Thanks in advance,
>
> -- 
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
Kenneth 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] Crypts and Costume Research (Sort of Off Topic)
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In a message dated 10/26/2004 3:05:41 PM Eastern Daylight Time, Lavolta Press <fran@lavoltapress.com> writes:

>Is tomb excavation often done solely to study the costume
>and textiles (on the body and/or grave goods) of the
>deceased?  Or is it normally done:

Often? No.  But it has been done, otherwise we wouldn't have quite as much knowledge as we do now about textiles and clothing.  Not everything which has been studied has been due to extenuating circumstances.

>(a) In the context of overall archeological research, to find
>out what the burial indicates about the culture as a whole
>
>Or (b) in the course of necessary alterations to a building
>or other area where the tombs are?  For example, the lower
>part of the church needs to be buttressed more to support the
>building, the people buried there must be moved for this work
>to take place, and since the tombs must be opened this is a
>good opportunity for archaeological study?

I asked the question exactly as I chose to ask it.  I wanted to see people's response to the question, phrased just as it was.  I have found when I have asked this question of my friends over the last week that they automatically answered both sides of the question. Rather than my guiding their thoughts in any one direction.  So when I decided to ask the question here, I chose to ask this question and see how people answered.


>Also, why do you need to find out what other people's 
>opinions on tomb excavation are before posting yours?  A
>wide variety of opnnions are listened to and discussed this
>list, so I'm sure yours would be also.

In my experience on this list, I have found that if a person asks a question and immediately gives their own response the list members are less likely to respond with theirs, unless it is something terribly out there. (i.e. the Sky is Chartreuse)  I really wanted to hear how other people felt about the situation.  Therefore, I held my response until later.  I have also found that there are some questions that people just don't want to discuss or just aren't interested in.  Therefore, once again, I chose to hold my opinion, until I saw how the list was going to respond.

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole

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Subject: Re: [h-cost] Crypts and Costume Research (Sort of Off Topic)
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Since I have gotten some chiding from friends (No Fran, you are not the only person who asked me why I didn't post my opinion, I decided to go ahead and do so now. {smile})
Like Bjarne, I have a hard time being able to cut my feelings on the subject down to one side, it really is a hard question to answer.
Being an amateur Historian and sometime History Major, I find that opening tombs/crypts is a very important part of studying the past.  We know so much more now about civilizations and catastrophes than we would have if we hadn't done this sort of research.
Just like the part of me that wants to know how each seam was put into a dress or each stitch in a needle worked piece was laid...  Yes, part of me wants to dig up Lizzy Borden's parents to try to do a modern forensic study of them and find out if she really did commit double murders {sick huh?}.  Or do DNA testing of each and every member of past royal houses to see if there was ever an "indiscretion" put onto a throne. 
However, the other part of me wants to say let the dead lie.  Part of me, even though I don't believe the person still exists in the body, doesn't want anyone handling, moving, or studying a dead body and/or their personal possessions that were laid the rest with them.
One of my specialties when I was in school was Eqyptology.  I have never been to Egypt, and I don't know if I will be able to go in my lifetime.  However, as much as I love ancient Egypt, it really upsets me when I go to some place like the British Museum and see items taken from the tombs.  In the same respect, I don't like it when someone opens a crypt just to study the person inside and then seal it up again.  They haven't removed anything, just opened it, taken some notes and sealed it again.  That shouldn't bother me...  At least that's what I tell myself, when I am staring at the Rosetta Stone or reading through a text on some historical burial practice.
However, the truly confusing part of the question, what do you do when the bodies/tombs/crypts are mistakenly found or opened under extenuating circumstances.  Circumstances like when the Two Princes (or bodies of what might have been the two princes) were found in the staircase that was being resettled in the Tower of London or when work needs to be done on a crypt that was damaged in a fire.  This is the time I have the hardest trouble deciding how I feel about it.
I live across the street from an old cemetery (well old for California) and there are stories of the coffins or bodies floating when the rivers would flood.  The last time this happened, the floating coffins were opened for examination (as is often the case since it is very difficult to tell where each body goes)  Add to this, most of the coffins were falling apart and the coffins were going to need to be replaced.  Therefore, the bodies were taken for examiniation...  The people that examined them didn't pull them from their crypts or from the ground, they were brought out of their tombs by Mother nature.  Every body was given a new casket and plunged back into the ground when the note taking was done.  But part of my brain has problems with the fact that the coffins were opened in the first place.  I don't know what to do with the Two Princes, I don't think they should have been left in the staircase, but neither do I think they should have been moved.
I guess was I am trying to say is that, my answer to the question is not cut and dry.  There is no simple answer to it.  My thirst for knowledge (it may sound melodramatic, but I am told I am a rather melodramatic person) makes me overlook what I consider to be an unacceptable practice.  However, the part of me that doesn't like the opening of crypts causes me to question if I should pay money for a book based on excavation finds from crypts and tombs.
In other words, I don't know how I feel about it, and I guess that is why I am so interested in other people's opinions on the subject.  Somewhere deep down, I think I am also looking to hear other opinions, so that I can better understand my own.
Kit
In a message dated 10/26/2004 2:37:51 PM Eastern Daylight Time, Kitsune242@aol.com writes:
>Greetings All!>>After reading the various e-mails for the last couple weeks about extant clothing and such, I am wondering where other people stand on the subject of opening tombs/crypts to study Textiles/Costumes from earlier eras.  I would really like to get other opinions, before I post my own.  However, if you feel this is not something that belongs on this list, but you wish to give me your opinions anyway, please feel free to contact me in private.>>Thanks in advance,>>-- >Kit>If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Bullion thread
Date: Tue, 26 Oct 2004 15:32:24 -0500
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I'm having a bit of a brain fog but Walmart, Hobby Lobby and JoAnn's carry
embroidery floss/metalic by a company(here's where the brain fog comes in)
that starts "Kre". Jo Ann's and Hobby Lobby carry the greater of the three,
selection.

De

-----Original Message-----
Now that the craft stores, etc. have their Xmas stuff out, here's a
suggestion:  In with the ornaments, tinsel, etc., you can sometimes find
coiled metal (looks like tiny springs) used as tinsel.  The texture is a
bit coarser than the actual metal bullion thread, but it is LOTS cheaper (a
couple of bucks for a good sized bundle).  Good to practice with.  I have
some in copper, silver, red, and blue, but haven't used it yet......

Don't overlook places like Home Depot or Menards - some of my most
interesting costume trims (AKA Xmas decorations) have come from there.

Sandy

At 01:01 PM 10/25/2004, you wrote:
>From: randl@adelphia.net
>Subject: [h-cost] More thread for dummies
>
>This time I'm looking for a gold bullion thread. Not real gold, but a
>nice faux-gold.
>
>Does anyone know of any good on-line sources. I checked Google,
>Threadneedle Street and Thread Express, no go. Actually Threadneedle
>had it, but it's real metal. I think I'm a bit too new at this for real
>metal and real metal prices.
>
>Thank you!
>Laurie

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

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

Andromeda


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Kreinik, isn't it?


liadain

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 26, 2004 2:32 PM
Subject: RE: [h-cost] Re: Bullion thread


> I'm having a bit of a brain fog but Walmart, Hobby Lobby and JoAnn's carry
> embroidery floss/metalic by a company(here's where the brain fog comes in)
> that starts "Kre". Jo Ann's and Hobby Lobby carry the greater of the 
> three,
> selection.
>
> De
> 


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Subject: Re: [h-cost] Re: Bullion thread
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Krennick?

Arlys

On Tue, 26 Oct 2004 15:32:24 -0500 "otsisto" <otsisto@socket.net> writes:
> I'm having a bit of a brain fog but Walmart, Hobby Lobby and JoAnn's 
> carry
> embroidery floss/metalic by a company(here's where the brain fog 
> comes in)
> that starts "Kre". Jo Ann's and Hobby Lobby carry the greater of the 
> three,
> selection.
> 
> De
> 
> -----Original Message-----
> Now that the craft stores, etc. have their Xmas stuff out, here's a
> suggestion:  In with the ornaments, tinsel, etc., you can sometimes 
> find
> coiled metal (looks like tiny springs) used as tinsel.  The texture 
> is a
> bit coarser than the actual metal bullion thread, but it is LOTS 
> cheaper (a
> couple of bucks for a good sized bundle).  Good to practice with.  I 
> have
> some in copper, silver, red, and blue, but haven't used it yet......
> 
> Don't overlook places like Home Depot or Menards - some of my most
> interesting costume trims (AKA Xmas decorations) have come from 
> there.
> 
> Sandy
> 
> At 01:01 PM 10/25/2004, you wrote:
> >From: randl@adelphia.net
> >Subject: [h-cost] More thread for dummies
> >
> >This time I'm looking for a gold bullion thread. Not real gold, but 
> a
> >nice faux-gold.
> >
> >Does anyone know of any good on-line sources. I checked Google,
> >Threadneedle Street and Thread Express, no go. Actually 
> Threadneedle
> >had it, but it's real metal. I think I'm a bit too new at this for 
> real
> >metal and real metal prices.
> >
> >Thank you!
> >Laurie
> 
> "Those Who Fail To Learn History
> Are Doomed to Repeat It;
> Those Who Fail To Learn History Correctly --
> Why They Are Simply Doomed.
> 
> Achemdro'hm
> "The Illusion of Historical Fact"
>   -- C.Y. 4971
> 
> Andromeda
> 
> 
> _______________________________________________
> 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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Sure, I think human remains are gross, as do a great many other people.  
Especially people who are not used to working with them, which I'm not.  
But history and archaeology are sciences.  Part of being a professional 
in either is setting aside personal feelings so that you can work as 
objectively as possible.  If you work with corpses, you have to set 
aside your emotional reactions to that.

As for the deceased's spirit--the spirit is gone.  According to your 
religious beliefs (if any) you can argue about where (if anywhere) the 
spirit went.  But it's definitely no longer in the body.

An enormous amount of information about older cultures has been gained 
from excavating tombs and from bodies found when excavating other 
structures.  The living can benefit a great deal from this information.  
The dead won't be any better off one way or the other.  

I'd be thrilled if someone opened up hundreds more 
ancient-through-Renaissance tombs with clothing in relatively good 
condition and made detailed studies on it.  While my first reaction is 
that I'd rather someone else unwound the shroud, I suppose I'd get used 
to it.

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com

>I guess was I am trying to say is that, my answer to the question is not cut and dry.  There is no simple answer to it.  My thirst for knowledge (it may sound melodramatic, but I am told I am a rather melodramatic person) makes me overlook what I consider to be an unacceptable practice.  
>
>  
>
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I work with a young woman who is studying for her masters degree in 
paleopathology or pathopaleontology, I forget which is the correct 
term, so I will ask her about this topic, since I would imagine the 
studying corpses found in tombs would be a big part of the research 
done in her field.

Sylrog

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Subject: [h-cost] Re: Bullion thread 
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    Just to be a bit pedantic here. :-) Bullion thread refers to precious
metal thread, as in real gold and real silver. Kreinik does produce both of
these. We carry them. Kreinik also produces metallic thread. There is a
difference between metal and metallic. Metallic refers to any mylar or other
material that creates a faux real metal thread.

    Careful in crossing the two terms.

    And then just to confuse matters even more, there are three different
grades of bullion thread, the lowest being military, which has a copper
core, plated with silver, plated with thin gold. This grade tarnishes
easily.

    The next grade is ecclesiastical, which is a copper core, plated with
silver, heavily plated with gold. This is the grade Kreinik makes. It stays
bright up to 25 years, depending on the atmospheric conditions. We carry
these threads.

    The best grade of bullion thread is made with a silver core and heavily
plated with gold. There are few manufacturers of these peerless threads, but
we are fortunate enough to deal with one of them, out of Spain, and which
manufacturers the bullion thread in the exact same manner as they did
hundreds of years ago. It is expensive. It is gorgeous. And at some point
I'm going to have a personal stash. We carry these threads through special
order.

    Just thought you might want to know.

Lorina
back to working on the Water embroidery
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org

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Subject: [h-cost] Re: opening tombs
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on 10/26/04 5:20 PM, Kit wrote:

> I would really like to get other opinions, before I post my own.

I find this a curious request. If you need to ask for other opinions before
you post your own, perhaps this is a topic you should not bring up.

Personally, while I find the idea a bit morbid, I don't have any problem
with it. Those folks have been dead for a long time, it's not going to
bother them. I do think the exhumation should be done for some other reason
than studying textiles, though. That doesn't seem to me to be a serious
enough reason to open a tomb.

Gail Finke

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From: Lynn Downward <ldownward@chori.org>
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Last week the question came up about what was used for hair powder. I've
been looking ever since and I finally found a quote from last years
Forgotten English calendar, a daily calendar I love to keep at work. Each
day there is a word no longer commonly used in modern English and some
occurrence, saint's day or something. The two are usually related.

For November 20:
BAG-WIG: A man's wig, fashionable in the eighteenth centruy, the back-hair
of which was enclosed in an ornamental bag. Hence, bag-wigged, wearing a
bag-wig. - James Murray's New English Dictionary, 1888

ON the 20th of November, 1746, fifty-one barbers were convicted before the
Commissioners of Excise, and fined the penalty of 20 pounds each for having
in their custody hair-powder not made of starch, contrary to act of
parliament; and on the 27th of the same month, forty-nine other barbers were
convicted of the like offense, and fined. -- William Hone's Every-day Book,
or Everlasting Calendar, 1827.

Cheers,
LynnD


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Personally, I have no problem with investigating graves to glean whatever
information we can from what remains inside. The crucial element is the
respect for the remains of the person. I prefer it when the remains are
put back pretty much as they were found after the tests and such are
over. Whatever made that person a person is long gone by the time we
contemporary folks go poking around. I got my minor in Cultural
Anthropology and for the physical requirement I did a semester of
'physical anthropology' which means that I messed about with human
skeletal remains. If you don't want to mess with the bodies, Fran, I'll
be happy to go in for the first look! ;-)


Karen

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Subject: [h-cost] buying images from V&A
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Is anyone familiar with buying images of items in V&A's collection? Could you tell me about the process, cost, formats available, etc? Off-list is fine, but others may be interested. Either I'm blind, or their website has no information other than an email link! (Yep, I emailed. Impatient!)

-E House

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Subject: [h-cost] Re: Medici book in Italian
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Thanks for the title. A quick check at Bookfinder Italian hasn't
netted me anything yet, but if I run across a copy or source for
copies I'll let y'all know!

Allison T.
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> My SO remembers a reference somewhere about a medieval lord who
> clothed all his retainers in green. Unfortunately he can't remember
> where he read it, which is hampering my efforts to use the reference
> in my current research. Does it sound familiar to anyone?
 
This is probably not quite what you're looking for, but it might help. There is a reference in Mary Stella Newton's _The Dress of the Venetians, 1495-1525 _ to the well-off Venetians simply buying lots of the same fabric to cloth their entire household. It might be a different fabric every year, but it sounded like everyone in the household got clothed in the same stuff.
	-sunny


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Subject: Re: [h-cost] RE: a medieval livery question
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On Tue, 26 Oct 2004, Sunny Buchler wrote:

> > My SO remembers a reference somewhere about a medieval lord who
> > clothed all his retainers in green. Unfortunately he can't remember
> > where he read it, which is hampering my efforts to use the reference
> > in my current research. Does it sound familiar to anyone?

>  This is probably not quite what you're looking for, but it might
> help. There is a reference in Mary Stella Newton's _The Dress of the
> Venetians, 1495-1525 _ to the well-off Venetians simply buying lots of
> the same fabric to cloth their entire household. It might be a
> different fabric every year, but it sounded like everyone in the
> household got clothed in the same stuff.

There are similar references in, I think, Christopher Dyer's "Standards of
Living in the Later Middle Ages." Dyer examines a lot of household
inventories and account books to track expenditures for various categories
of goods, including clothing. What I remember from the passage in question
was that the household head (in this particular case) would buy some large
quantity of a particular fabric -- whatever seemed like a good value at
the time -- to make the clothing for a large proportion of the household
members in a given year. The recipients were those people who would be
given a new outfit annually as part of their pay or living arrangement;
not just servants and squires and such, but also the occasional cousin or
maiden aunt or nephew who happens to be living and working as part the
household, and probably some of the children as well. The next year, or
whenever the fabric stash ran out, the lord would arrange to get another
large quantity of suitable fabric, which might easily have been a
different color this time around.

This detail runs counter to the impression a lot of people have of lords
always clothing their retainers in their heraldic colors.  It would
generally have been obvious to locals that a person was a member of a
particular household, because everyone would know that Lord So-and-So's
retainers were all wearing orange (or whatever) that year. Thus you'll see
references in literature or documents to identifying a person as Lord
So-and-So's man because of the color of his clothing. However, the color
would most likely have nothing to do with Lord So-and-So's actual heraldic
device.

The reference to someone clothing his household in "green" could have been
a quote from some document, with green having no real significance save
that that was the color in hand ("item: sixteen bolts of green wool for
livery"). However, if it's from a literary manuscript, it might have a
rhetorical or symbolic implication, as green had a number of overtones in
literature for much of the Middle Ages. If that's the case, it wouldn't
necessarily be a good reflection of what an actual household head might
have done in choosing the year's livery fabric. There have been volumes
written on why Robin Hood made a point of dressing his men in Lincoln
green -- was it a cheap fabric, an expensive one, a reference to their
outlaw status or forest dwelling, etc.

--Robin


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Subject: Re: [h-cost] Re: opening tombs
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In a message dated 10/26/2004 4:10:11 PM Pacific Daylight Time,  
gailscott@eos.net writes:

If you  need to ask for other opinions before
you post your own, perhaps this is a  topic you should not bring up.


I have to say that I respect the original poster's position that  presenting 
her opinion first sets the general tone for the  correspondence.   I think 
that her way of forming her request was  justified and do not think that she was 
trying to hide or to make anyone feel  uncomfortable.
 
My own answer to the question is that I do not believe that the dead should  
be disturbed solely for the purpose of studying their raiment.  I know that  
for some cultures it is beyond a simple taboo for the remains which have been  
buried to be moved.  I realize that there are going to be some  circumstances 
where it is unavoidable, as in the moving of graves which has  already been 
mentioned, or natural disaster, which too has already been  mentioned, but I 
believe that as much as possible the religious beliefs of the  deceased should be 
given more weight than our own hunger to learn more about how  their undies 
were stitched together.  It is a fact that with as many graves  as there are in 
this planet that there are going to be times when they will be  disturbed.  
When this happens, I feel it is an opporturnity for education,  but I feel that 
it should be handled with the dignity and respect that such a  task demands.  
On the recent Medici Crypt show, I noted that the staff was  almost reverent 
in their treatment of the remains and felt that this was very  appropriate.  
It was gratifying to see the solemn manner in which the  remains were 
reinterred, and I felt that there was no doubt that the  researchers never forgot that 
these were not just dried up old bones they were  dealing with, but had been 
very alive, vibrant people.
 
That said, if I were to be dug up 500 years from now, I can only imagine  
what a row it would cause when it was discovered that I was wearing clothes from  
an era 400 years previous to when I supposedly died.  
 
 
;-)
 
~Kimberley
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Subject: Re: [h-cost] RE: a medieval livery question
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> This is probably not quite what you're looking for, but it might help.
There is a reference in Mary Stella Newton's _The Dress of the Venetians,
1495-1525 _ to the well-off Venetians simply buying lots of the same fabric
to cloth their entire household. It might be a different fabric every year,
but it sounded like everyone in the household got clothed in the same stuff.
> -sunny

I can very nearly do that;)

I've been gifted 21 drops of 7m lengths of dark green velveteen;)

It was a stage curtain in its former life, and knowing a few very simple
tricks this will be some really spiffy fabric once it's been washed and
dried;)

But it's rather musty smelling now because of the sheer size of the fabric
and the fact it's been in storage for a while.

I've been joking that I could start a household in my group in the SCA;)

michaela
http://glittersweet.com/greenvelveteen.jpg (that's the stuff on the left
hand side, on a regular single bed.


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Subject: Re: [h-cost] RE: a medieval livery question
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> I've been gifted 21 drops of 7m lengths of dark green velveteen;)

'Drops'?

Yummy fabric! =)

Arlys

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: opening tombs
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On Tuesday 26 October 2004 7:24 pm, seamstrix@juno.com wrote:
> Personally, I have no problem with investigating graves to glean whatever
> information we can from what remains inside. 

I agree completely with this, especially because I believe that the real 
strides in costume history in the next several decades are going to come 
through analysis of archaeological remains.


> The crucial element is the 
> respect for the remains of the person. 

I agree that respect for human remains are critical, but I don't think it's 
the only issue.

The other issue is respect for the feelings of the living.  It's obvious what 
that means when the question is whether it is appropriate to exhume the 
remains of an individual whose close relatives are still alive.  It's less 
obvious when the remains in question were those of individuals hundreds of 
years dead.

Sometimes, exhuming the remains--for whatever reason--offends those who 
believe themselves to be of the same "tribe" or nation as the dead.  In the 
US, Indian tribes have protested when archaeologists have sought to examine 
the remains of Indians who have been even accidentally exhumed.  

My belief is that it is best not to disturb the graves of the dead for 
archaeological purposes unless those of the living with the strongest 
interest in the remains is consulted first. 

You suggest that it is best that "the remains are put back pretty much as they 
were found after the tests and such are over."  However, if that test were 
strictly applied, we would not have the ancient/medieval/etc jewelry and 
other non-human contents of graves to study, create replicas of and so forth.  
Where do you draw the line?  Is it sufficient to put the human remains "back 
pretty much as they were found" without the grave goods?  (I suspect if you 
could somehow asked the deceased themselves they would likely give you the 
equivalent of "heck, no!" as a response).  What if the artifacts are 
destroyed, in whole or part, during the testing?  What if the human *remains* 
are destroyed, in whole or part, during the testing?  What then?

By the way, I don't think skeletons (which is all most human remains will 
amount to if the grave is more than a hundred years old) are terribly 
gross--though handling them would probably feel odd to most of us.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
References: <20041026.190705.3348.1.Cley@juno.com>
Subject: Green velveteen Re: [h-cost] RE: a medieval livery question
Date: Wed, 27 Oct 2004 16:09:48 +1300
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> > I've been gifted 21 drops of 7m lengths of dark green velveteen;)
>
> 'Drops'?

They were a curtain.. You pay by "drop" when getting curtains made...;)
Slight missuse of the term but eh;)

> Yummy fabric! =)

Oh yes it is:)

And I have many cunning plans to make from it;)

Lady M as portrayed by Ellen Terry and painted by Sargent (but without the
beetle wings.. probably will stamp the velveteen though)

More Spanish Court gear.. probably very early 17thC though, as in a painting
by Pantoja de la Cruz

Flemish Tapestry style with  hangling sleeves (with slits to put arms
through)

Nuernberg woman on her way to a ball as sketched by Duerer (with the hanging
sleeves)

And I'm sure much more;) Including (I hope) the robes in the final scene of
Dracula worn by Mina (as played by Winona Ryder) or possibly the green
pegnoir from Gone With the Wind.. minus much of the decoration;)

And maybe gift some away, and make people my minions;) Ermm.. householders;)

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


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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] the Jane Grey pic
Date: Wed, 27 Oct 2004 16:15:18 +1300
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> Ya'll are just going to laugh at me, I know it, but I will admit that when
I
> first saw this pic of Jane Grey that we are currently discussing, my
> immediate  thought was that it was not a period piece, but one from a
later time.  I
> still believe that, but since ya'll are sure it is authentic to the
period, I
> will concede that I made a snap judgement and happily embrace this lovely
> portrait for what it is.

No laughing, I believe it's from a later date too. Not sure how late, but
they did a very good job of capturing much of what is familiar with tudor
dress and portraiture.

It's the folds of her skirt as well as the soft focus that make me believe
it is later. But this stage, most of these dresses are very flat at the
front, at least in portraits anyway. There are some images I can recall that
do show pleats at the side.. but they seem more regimented than this.

In colour it seems a bit too soft. But then again there are some portraits
that I've seen that have just seemed so anachronistic until I saw a much
better scan. And at least one has gripped my heart for the look in the
sitter's eyes.

One of those was a small portrait by Barthel Bruyn.

So my gut feeling is that this is a very good copy, but am perfectly happy
to find that it's authentic. In fact I think it would be marvelous to be
wrong in this instance.

michaela de bruce
http://glittersweet.com


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: opening tombs and Medici Crypt program
Date: Tue, 26 Oct 2004 20:28:38 -0700
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I've thought of this several times over the past.  A few years ago they were
digging a tunnel for the local light rail through the West Hills region of
Portland.  Part of it went under a local cemetery (many, many yards down -
nowhere near the level of the graves).  Whine, whine, bitch and moan about
the "desecration".  Decided that was nonsense.

Now we have the Kennewick Man.  Dead these thousands of years; before
Christ; before Alexander; before Otzi, the Iceman.  Dead when sheep, dogs,
and cats were first being domesticated.  What we can learn from him needn't
be extracted with anything less than reverence for a man who managed to make
it to relative old age (40 or so) and lived through having a spear head in
his thigh bone.  Local indian tribes are having a hissy fit even though
their ancestors probably weren't even in America at that time.  Study of the
skeleton would tell us something about that, and the word on the street is
that the local tribes are actually afraid of that.  As it is, the bones are
in a box in a lock up, and a number have been "lost".  No reverence, just a
box to play tug-o-war with.

I've wondered what I would think of someone digging me up and examining my
DNA, clothing, etc. and have come to the conclusion I have no problem with
it, because I don't believe I'll care.

More importantly I thought how I would feel if my parents, whom I loved
dearly, were so exhumed.  As long as their bodies were treated with respect
and something actually learned I would have no problem there either.  I
would have a problem with grave-robbing where they were dug up and torn
apart for their wedding rings, collectable tie or stick pins as has happened
for centuries (the last Medici grave) and is happening now in Iraq.

Separate Topic:


Did anyone else feel frustrated with the crypt opening in that the program
seemed to be so incomplete?  Big deal!  They opened the tombs, but there
were no results really.  They didn't find a sword cut on one of them, but
that didn't really show he hadn't been stabbed since the relavant bone
seemed to be missing.  They didn't do or have the results of any testing,
etc.

I'm just glad that those who opened Eleonora's tomb in the 1800's took such
care. It sounds like the 1940's people despoiled the bodies (cutting the
flesh off!) just to prove some hair brained theory!  Now THAT I find
reprehensible - to destroy something and not even have the decency to
publish what they found.  Typical of way too much archeology even today.
(Kathleen Kenyon died before she published much of her dig information from
Jericho.  She might as well have taken a bulldozer to the site since the
destruction is complete and no knowledge gained either way.)

Regina


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From: Frank and Tracy Thallas <hardcorps@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: OT Archaeology shows (was:RE: [h-cost] Re: opening tombs and Medici
	Crypt program
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   I did - was like ordering a sandwich and getting only the bread.  I wonder if
they didn't get results of tests in time, or that info wasn't considered important
enough to pass on, or ?  I suppose there's only so much that can be crammed into
what - 45 minutes with commercials?
   It's terrible to think how much has been lost - mummies burned for train fuel,
artifacts vanishing into private collections, remains hacked to bits to prove theories.
But then again, even bad archaeology saves SOMETHING when the bulldozers or the 
floodwaters are coming...

Liadain


Separate Topic:


Did anyone else feel frustrated with the crypt opening in that the program
seemed to be so incomplete?  Big deal!  They opened the tombs, but there
were no results really.  They didn't find a sword cut on one of them, but
that didn't really show he hadn't been stabbed since the relavant bone
seemed to be missing.  They didn't do or have the results of any testing,
etc.

I'm just glad that those who opened Eleonora's tomb in the 1800's took such
care. It sounds like the 1940's people despoiled the bodies (cutting the
flesh off!) just to prove some hair brained theory!  Now THAT I find
reprehensible - to destroy something and not even have the decency to
publish what they found.  Typical of way too much archeology even today.
(Kathleen Kenyon died before she published much of her dig information from
Jericho.  She might as well have taken a bulldozer to the site since the
destruction is complete and no knowledge gained either way.)

Regina


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program
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On Tuesday 26 October 2004 11:28 pm, Wanda Pease wrote:

[lots of snipping}

>Now THAT I find
> reprehensible - to destroy something and not even have the decency to
> publish what they found.  Typical of way too much archeology even today.
> (Kathleen Kenyon died before she published much of her dig information from
> Jericho.  She might as well have taken a bulldozer to the site since the
> destruction is complete and no knowledge gained either way.)

I doubt Ms. Kenyon planned to die when she did.  :-)

Now if she had merely squirreled away the material she collected in the dig 
without trying to prepare any of it for publication, I would agree with you.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
> 
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sounds right if not the spell. :)

De

-----Original Message-----
Krennick?

Arlys


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Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program
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On Tuesday, October 26, 2004, at 08:28 PM, Wanda Pease wrote:
[snip]

> [snip] Now we have the Kennewick Man.

>  Local indian tribes are having a hissy fit even though
> their ancestors probably weren't even in America at that time.  [more 
> snip]

Ok, um, man has been in the Americas for up to 30-40,000 years 
depending on whose theory you subscribe to.  Kennewick Man *IS* the 
local Native Americans' ancestor, even tho not a likely direct lineage 
of the Yakama, Nez Perce, Colville or the other two regional tribes 
whose names escape me.  To say that the tribes are having a "hissy fit" 
negates their beliefs in how the dead should be treated.  Being the 
writers of History does not make that history correct.  There were many 
waves of settlement in the Americas, Kennewick Man belongs to a middle 
period.

Personally, I'm all for studying the Kennewick Man, and any other find 
that comes along that can be shown to have a reasonable dis-connect 
from modern tribes.  I'm in the "of two minds" camp.  I wish to honor 
the dead (while respecting the beliefs of the locals) while wishing to 
know more about them.  It's truly a conundrum.

  If you are at all interested, there is a bill sponsored by Colorado 
Sen. Ben Nighthorse Campbell moving through the Congress that could put 
Kennewick Man (and many many more finds) out of reach of scientists for 
good.  S. 2843 inserts two words into NAGPRA; "or was" which means that 
any remains currently "or was" connected with modern tribes can be 
repatriated under the act.  If you feel strongly, contact your 
Congress-people and let your views be known.  It's passed out of 
committee and will go to the floor, but I don't know when.  I've 
contacted mine.

Just my tuppence.  Life is a pendulum and it swings to and fro.  Right 
now it's fro-ing for all it's worth.  :D

(To think that I used to party mere feet from where the skeleton was 
found is boggling)


> Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy

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Thank you.  I was guessing muslin or at least that's what I was going to
use.

Some other kind person answered that vilene is a brand name for fusible
interfacing.  I'm doing an Elizabethan style embroidery with silk fabric and
silk threads.  I don't want to use modern interfacing.  What else might have
been used in period?

Any guesses on what contact is?  This is from "An Elizabethan Christmas" by
Sheila Marshall.  "Contact and calico are used when creating needlelace or
punto in aria.  The contact plastic adheres to the calico and creates a
'fabric' not unlike the parthment used for this purpose by the
Elizabethans."

Thanks!
Julie

>>What is calico?  I know it as a printed fabric from the 1800's, but that
>>can't be right in this context.
>
>They say calico where Americans say muslin, as in the bleached/unbleached
>stuff, not as in the fine stuff that English Regency dresses might
>be made of.
>

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: opening tombs and Medici Crypt program
Date: Tue, 26 Oct 2004 22:19:30 -0700
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Grin!

> I doubt Ms. Kenyon planned to die when she did.  :-)
>
> Now if she had merely squirreled away the material she collected
> in the dig
> without trying to prepare any of it for publication, I would
> agree with you.

I doubt that she "planned" to either.  However, what she did was dig, and
dig, and dig without putting her notes in any kind of order.  She was
notorious for "keeping it all in her head".  When the dark angel came for
her I'm sure she was trying to waive him off until she got one more pot
cleaned up. :-)  The stuff is largely there, but the context is destroyed
completely, and there aren't even notes as to what level they came from.
She is simply one of the most famous.

It is bad enough that several countries now require digs be published before
another is started.  Archeologists who don't publish don't get to dig any
more.  At least they do keep the pottery as intact as they can, which can't
be said for most bulldozers!

Regina


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  This quote reminded me of some directions I saw once for making a certain kind
of needle-lace (can't remember the name).  The pattern was drawn on tracing paper which was 
pinned to a firm-weave fabric.  Heavy "base" threads were sort of couched to this fabric through
the paper, outlining and connecting the motifs, and the the needle-lace pattern stitches were worked
over (and attached to) these threads to fill in the pattern. When the pattern was complete, the backing fabric 
and paper were snipped away.   Maybe "contact" is something like clear Contact paper, and used for the same purpose?  Though I don't get why use plastic instead of  paper of some sort- seems it would be harder to
remove..

Liadain

Any guesses on what contact is?  This is from "An Elizabethan Christmas" by
Sheila Marshall.  "Contact and calico are used when creating needlelace or
punto in aria.  The contact plastic adheres to the calico and creates a
'fabric' not unlike the parthment used for this purpose by the
Elizabethans."

Thanks!
Julie


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: opening tombs and Medici Crypt program
Date: Tue, 26 Oct 2004 22:39:58 -0700
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Althea,

	Where are you getting the 30-40,000 years for man in the Americas?  I
honestly want to know because all I have seen seems to be in the
10,000 -15,000 range.  I may be way behind on the recent finds however!
	I come from the Kennewick region and the Indian beliefs that forbid the
disturbance of graves among these specific tribes seems to be of very recent
and political vintage.  This is not to say that the local tribes all over
Oregon and the rest of the Americas haven't been treated terribly when it
comes to the proper respect for their dead!!  However, it seems that the
fame of this particular find has been a bandwagon to jump on to beat the
drums for Indian Rights.  Again, not a bad thing in itself, but I have a
problem with it when it destroys something valuable to make a point.
Reburying the skeleton in some "secret place" would be destroying it.
	It's important to realize that not all Indian tribes have a problem with
archeology and disinterment.  The tribes are as different as the tribes of
Europe.  Maybe even more so.  I think it's important for us to know as much
about the cultures as possible to get rid of the back of the mind stereotype
of the Native Americans as savages dragging around skin tents (VERY
sophisticated skin tents!), or dirt scratching peasants.  (Yes, I'm aware
these are completely false stereotypes, but the more of the cultures we can
present, the more respect they engender.

Regina Romsey
"You're only jealous because the voices only talk to me!"


> Ok, um, man has been in the Americas for up to 30-40,000 years
> depending on whose theory you subscribe to.  Kennewick Man *IS* the
> local Native Americans' ancestor, even tho not a likely direct lineage
> of the Yakama, Nez Perce, Colville or the other two regional tribes
> whose names escape me.  To say that the tribes are having a "hissy fit"
> negates their beliefs in how the dead should be treated.  Being the
> writers of History does not make that history correct.  There were many
> waves of settlement in the Americas, Kennewick Man belongs to a middle
> period.
>
> Personally, I'm all for studying the Kennewick Man, and any other find
> that comes along that can be shown to have a reasonable dis-connect
> from modern tribes.  I'm in the "of two minds" camp.  I wish to honor
> the dead (while respecting the beliefs of the locals) while wishing to
> know more about them.  It's truly a conundrum.
>


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Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program
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Status: RO

*laughs*  You want citations?  Can I get them to you in a few days?  
I'm in a crunch of a few projects.

I seem (off the top of my head) to remember something about finds in 
Terre del Fuego being dated to that time period.  I'm perfectly 
amenable to being wrong.  :D  I will see if I can find my sources or 
let you know if I"m totally off my rocker.  The problem with being a 
student is eventually all the stuff you read starts to bleed out your 
ears.

I understand the total confusion on this subject.  I want to support 
Indian rights but I also just want to *know*.

I will get back to you in a few days.  Do you want it private or posted 
to the list?

be well,
Althea
On Tuesday, October 26, 2004, at 10:39 PM, Wanda Pease wrote:

> Althea,
>
> 	Where are you getting the 30-40,000 years for man in the Americas?  I
> honestly want to know because all I have seen seems to be in the
> 10,000 -15,000 range.  I may be way behind on the recent finds however!
> 	I come from the Kennewick region and the Indian beliefs that forbid 
> the
> disturbance of graves among these specific tribes seems to be of very 
> recent
> and political vintage.  This is not to say that the local tribes all 
> over
> Oregon and the rest of the Americas haven't been treated terribly when 
> it
> comes to the proper respect for their dead!!  However, it seems that 
> the
> fame of this particular find has been a bandwagon to jump on to beat 
> the
> drums for Indian Rights.  Again, not a bad thing in itself, but I have 
> a
> problem with it when it destroys something valuable to make a point.
> Reburying the skeleton in some "secret place" would be destroying it.
> 	It's important to realize that not all Indian tribes have a problem 
> with
> archeology and disinterment.  The tribes are as different as the 
> tribes of
> Europe.  Maybe even more so.  I think it's important for us to know as 
> much
> about the cultures as possible to get rid of the back of the mind 
> stereotype
> of the Native Americans as savages dragging around skin tents (VERY
> sophisticated skin tents!), or dirt scratching peasants.  (Yes, I'm 
> aware
> these are completely false stereotypes, but the more of the cultures 
> we can
> present, the more respect they engender.
>
> Regina Romsey
> "You're only jealous because the voices only talk to me!"
>
>
>> Ok, um, man has been in the Americas for up to 30-40,000 years
>> depending on whose theory you subscribe to.  Kennewick Man *IS* the
>> local Native Americans' ancestor, even tho not a likely direct lineage
>> of the Yakama, Nez Perce, Colville or the other two regional tribes
>> whose names escape me.  To say that the tribes are having a "hissy 
>> fit"
>> negates their beliefs in how the dead should be treated.  Being the
>> writers of History does not make that history correct.  There were 
>> many
>> waves of settlement in the Americas, Kennewick Man belongs to a middle
>> period.
>>
>> Personally, I'm all for studying the Kennewick Man, and any other find
>> that comes along that can be shown to have a reasonable dis-connect
>> from modern tribes.  I'm in the "of two minds" camp.  I wish to honor
>> the dead (while respecting the beliefs of the locals) while wishing to
>> know more about them.  It's truly a conundrum.
>>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy

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Kate Bunting
Library, University of Derby

>>> jtknits@jtknits.cts.com 27/10/2004 05:46:14 >>>
>Any guesses on what contact is?  This is from "An Elizabethan
>Christmas" by Sheila Marshall.  "Contact and calico are used when
>creating needlelace or punto in aria.  The contact plastic adheres to
the >calico and creates a 'fabric' not unlike the parthment used for
this >purpose by the Elizabethans."

I'm completely ignorant of these techniques, but presumably they create
an openwork fabric and the base fabric is eventually discarded? It
sounds as though the author does mean what we familiarly call
"sticky-back plastic".
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From: Teddy <Teddy@mdx.ac.uk>
Subject: RE: [h-cost] comparing and sleeves was: image of Jane Grey?
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> What has caught my attention is in the portrait of E, the way 
> the left sleeve lays on top of the false sleeve. Is this 
> indication of a stiff false sleeve or where the false sleeve 
> ends? Also, the ratio of chemise sleeve does not seem to 
> match the cuff ruffle. Was there false chemise sleeves added 
> to the false sleeves? In J the cuff ruffle material does not 
> seem to match the chemise sleeve material.

In Elizabeths one, the puffs through the false sleeve are false (look
closely at the wrist of her left hand - you can see the end of another
sleeve between the false sleeve and her wrist ruffle.

There are pictures of Mary in this style where the puffs of sleeve are
very obviously flat pieces of blackworked fabric that have been sewn
onto the outer surface of the false sleeve.

Teddy


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> What is vilene?  

Brand-name interfacing, either iron on/fusible or sew-in

 
> What is contact?  I don't think it's like the U.S. sticky 
> Contact paper.  Can't imagine that with embroidery.

Can't help you there.
 
> What is calico?  I know it as a printed fabric from the 
> 1800's, but that can't be right in this context.

Bleached or unbleached calico....Americans call it "muslin"
 
Teddy
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> After reading the various e-mails for the last couple weeks 
> about extant clothing and such, I am wondering where other 
> people stand on the subject of opening tombs/crypts to study 
> Textiles/Costumes from earlier eras.  I would really like to 
> get other opinions, before I post my own. 

A lot of archaology, when it comes down to it, is "grave-robbing", why
should textile aspects of it be classified any differnetly.

Since I am a firm believer in the "once a person is dead, what you do
with the body has no relevence" viewpoint, I'm all for it.  Once a
person is dead, they're beyond caring what you do with the container
that they inhabited when they were alive.

Other people with different beliefs bay get uptight about it however
especially if the person died recently enough to have still-living
relatives.

Teddy
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Subject: Mummies not fuel was: Re: OT Archaeology shows (was:RE: [h-cost]
	Re: opening tombs and Medici	Crypt program
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Frank and Tracy Thallas wrote:
>    It's terrible to think how much has been lost - mummies burned for train fuel,

http://www.straightdope.com/columns/020222.html

Excerpt:

The story isn't that Egyptians use mummies to heat their food now, it's 
that they used them in the 19th century to fuel their locomotives. We 
owe this wonderful conceit to Mark Twain, who in The Innocents Abroad 
(1869) ...

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

We would not [monitor the election of] a country that had election laws 
like ours, where every precinct, every voting place can have a separate 
kind of voting mechanism, and where the interpretation of what is a good 
vote or a bad vote depends, almost exclusively, on local officials' 
prejudices. -- The Carter Center
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> As for the deceased's spirit--the spirit is gone.  According to your 
> religious beliefs (if any) you can argue about where (if 
> anywhere) the spirit went.  But it's definitely no longer in the body.
> 
> An enormous amount of information about older cultures has been gained

> from excavating tombs and from bodies found when excavating other 
> structures.  The living can benefit a great deal from this
information.  
> The dead won't be any better off one way or the other.  
> 
> I'd be thrilled if someone opened up hundreds more 
> ancient-through-Renaissance tombs with clothing in relatively good 
> condition and made detailed studies on it.  While my first reaction is

> that I'd rather someone else unwound the shroud, I suppose I'd get
used 
> to it.

Couldn't agree more

Teddy
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] buying images from V&A
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At 18:25 26/10/2004 -0500, you wrote:
>Is anyone familiar with buying images of items in V&A's collection? Could 
>you tell me about the process, cost, formats available, etc? Off-list is 
>fine, but others may be interested. Either I'm blind, or their website has 
>no information other than an email link! (Yep, I emailed. Impatient!)


According to a contact at the V and A

"V&A publications, you need to check with V&A Enterprises
 >first. Try Jo Prosser at j.prosser@vam.ac.uk . If not the right
 >person, she can direct you."

She says she is not sure as she always uses the shop!!

Hope this helps.


Suzi



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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: opening tombs and Medici Crypt program
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Althea,

	Dealer's choice about the citations since Native American isn't really in
the scope of this list.  Being a student, you are probably deep into term
right now.  Lol about trying to remember where you have seen a particular
piece of information.  The more I read, the more trivia ends up in my brain
without the tag on it that says where I read it!
	I want to make very plain that I'm honestly asking for knowledge that I
don't have, much like asking for documentation for an interesting item in an
A&S display, not as a snide "well Prove It"!  One of the things that I think
the SCA should take a lot of credit for is the dissemination of knowledge
over the last 30 years.
	Thanks for your efforts!

Regina Romsey
"The work of our Laurels will astonish people a century from now; the
deeds of our knights will be forgotten in five years; and nobody knows
what the Pelicans have done." Sir Alan Culross


>
> *laughs*  You want citations?  Can I get them to you in a few days?
> I'm in a crunch of a few projects.
>
>


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Status: RO

On a trip to London several years ago, I went to their slide catalog 
room and bought enlargements.  At that point, the process was to go 
yourself, so you could choose which ones you wanted.  For example, I was 
interested in the Devonshire Hunting Tapestries, of which there are 
four; there were at least 5 different images of each of them, probably 
more.  Detail shots, views of the backside, etc.

Then I signed something saying that I wasn't going to publish those 
photos, ever, and paid them a lot of money, and they had the prints done 
up and sent to me later.

I think the cost was over $200 for four prints, and they weren't large 
-- maybe 8x10 or so.  A friend gave them to me as a wedding present.

There would be, I expect, a large number of people who would like to 
have a poster-sized version of one of the Devonshire Tapestries, but at 
the time I was there, they did not offer a way to do poster-style 
reproductions, just the film/print sort from their large format negatives.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

We would not [monitor the election of] a country that had election laws 
like ours, where every precinct, every voting place can have a separate 
kind of voting mechanism, and where the interpretation of what is a good 
vote or a bad vote depends, almost exclusively, on local officials' 
prejudices. -- The Carter Center
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] help with British terms
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Status: RO

By any chance, might the product "Sulky"fall into this category;
particularly the wash away variety.  I have directions from an old copy of
"Threads" that show how to use it to make a modern 'point d'aria lace.? It
looks something like stitch witchery, but comes in sheets.
Kathleen
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Wednesday, October 27, 2004 4:22 AM
Subject: Re: [h-cost] help with British terms


>
>
> Kate Bunting
> Library, University of Derby
>
> >>> jtknits@jtknits.cts.com 27/10/2004 05:46:14 >>>
> >Any guesses on what contact is?  This is from "An Elizabethan
> >Christmas" by Sheila Marshall.  "Contact and calico are used when
> >creating needlelace or punto in aria.  The contact plastic adheres to
> the >calico and creates a 'fabric' not unlike the parthment used for
> this >purpose by the Elizabethans."
>
> I'm completely ignorant of these techniques, but presumably they create
> an openwork fabric and the base fabric is eventually discarded? It
> sounds as though the author does mean what we familiarly call
> "sticky-back plastic".
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] help with British terms
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At 08:27 27/10/2004 -0400, you wrote:
>By any chance, might the product "Sulky"fall into this category;
>particularly the wash away variety.  I have directions from an old copy of
>"Threads" that show how to use it to make a modern 'point d'aria lace.? It
>looks something like stitch witchery, but comes in sheets.
>
> > >Any guesses on what contact is?  This is from "An Elizabethan
> > >Christmas" by Sheila Marshall.  "Contact and calico are used when
> > >creating needlelace or punto in aria.  The contact plastic adheres to
> > the >calico and creates a 'fabric' not unlike the parthment used for
> > this >purpose by the Elizabethans."
> >
> > I'm completely ignorant of these techniques, but presumably they create
> > an openwork fabric and the base fabric is eventually discarded? It
> > sounds as though the author does mean what we familiarly call
> > "sticky-back plastic".

This is not a term I have come across. There is "Stitch'n'Tear" which is 
used for applique, and is the D*v*l to get off, and apparently there is a 
soluble version, which is also a pain to get off. If you are doing "punto 
in aria" which I believe is another name for Reticella, I think you could 
probably use tracing paper, or greaseproof paper,

Suzi




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In a message dated 10/27/2004 8:29:11 AM Eastern Daylight Time, 
rmitchell@washjeff.edu writes:


> might the product "Sulky"fall into this category;
> particularly the wash away variety

Sulky is a brand name--they make several kinds of stabilizers, including wash 
away, tear away, and, I think, paint on.  But I haven't used any for a long 
time, so I can't vouch for how easy they are to remove.

Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] help with British terms
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> This is not a term I have come across. There is "Stitch'n'Tear" which is
> used for applique, and is the D*v*l to get off, and apparently there is a
> soluble version, which is also a pain to get off. If you are doing "punto
> in aria" which I believe is another name for Reticella, I think you could
> probably use tracing paper, or greaseproof paper,

When I do it,  I trace the design on paper, then put a plastic baggie
on top.  I sew the lace thread down with sewing thread along the
design.  This goes through plastic and paper.  I work the design, then
turn it over and cut the thread on back.  The lace just lifts off the
plastic and no mess.

-- 
Aspasia Moonwind
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Subject: Re: OT Archaeology shows (was:RE: [h-cost] Re: opening tombs and
	Medici Crypt program
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I'm glad I wasn't the only one frustrated by that program. I wish they'd
waited to complete their findings before doing the show--it was painfully
lacking.

One of the major points of any thesis is to CHALLENGE it and support it
with substantive proofs, not attempt to "prove" it with repetitive
gobbledegook.

And that bit on Eleanor drove me nuts--"she had one child, then another,
then another"--ok, we get it already!! My succinct little historian's
brain was saying, "quit eating time, and why not just tell us she had 11
kids?!"

Eergh.

Arlys

Regina writes:
> Did anyone else feel frustrated with the crypt opening in that the 
> program seemed to be so incomplete?  Big deal!  They opened the tombs,
but 
> there were no results really.  They didn't find a sword cut on one of 
> them, but that didn't really show he hadn't been stabbed since the
relavant 
> bone seemed to be missing.  They didn't do or have the results of any 
> testing, etc.


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Subject: Re: [h-cost] Crypts and Costume Research (Sort of Off Topic)
Date: Wed, 27 Oct 2004 08:12:28 -0700
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My thoughts are that after a certain amount of time has gone by (say 150-200 
years), then it would be okay, as long as it is done in an atmosphere of 
reverence and respect, and that everything is put back as it was, with 
perhaps a little ceremony; after all, we are no longer in our bodies at that 
time and they are just empty shells (that is if you believe in an 
afterlife/soul, etc.)

I believe that the knowledge that could come from studying them is 
invaluable in many ways; historically, forensically, culturally, etc. It 
always fascinates me when they do the reconstructions on skulls - it just 
brings the person to life. I believe this kind of study actually grants the 
person (or people) a form of immortality, because only when you are 
forgotten, are you truly dead.

P.S., About Lizzie Borden, I don't think you are sick at all, It would be 
fascinating to have them studied forensically and would also give an answer 
to an age old question, perhaps letting them and Lizzie finally rest in 
peace.

                   .
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            [_]  L[_|    unicorn@surewest.net

----- Original Message ----- 
From: <Kitsune242@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, October 26, 2004 1:23 PM
Subject: Re: [h-cost] Crypts and Costume Research (Sort of Off Topic)


> Since I have gotten some chiding from friends (No Fran, you are not the 
> only person who asked me why I didn't post my opinion, I decided to go 
> ahead and do so now. {smile})
> Like Bjarne, I have a hard time being able to cut my feelings on the 
> subject down to one side, it really is a hard question to answer.
> Being an amateur Historian and sometime History Major, I find that opening 
> tombs/crypts is a very important part of studying the past.  We know so 
> much more now about civilizations and catastrophes than we would have if 
> we hadn't done this sort of research.
> Just like the part of me that wants to know how each seam was put into a 
> dress or each stitch in a needle worked piece was laid...  Yes, part of me 
> wants to dig up Lizzy Borden's parents to try to do a modern forensic 
> study of them and find out if she really did commit double murders {sick 
> huh?}.  Or do DNA testing of each and every member of past royal houses to 
> see if there was ever an "indiscretion" put onto a throne.
> However, the other part of me wants to say let the dead lie.  Part of me, 
> even though I don't believe the person still exists in the body, doesn't 
> want anyone handling, moving, or studying a dead body and/or their 
> personal possessions that were laid the rest with them.
> One of my specialties when I was in school was Eqyptology.  I have never 
> been to Egypt, and I don't know if I will be able to go in my lifetime. 
> However, as much as I love ancient Egypt, it really upsets me when I go to 
> some place like the British Museum and see items taken from the tombs.  In 
> the same respect, I don't like it when someone opens a crypt just to study 
> the person inside and then seal it up again.  They haven't removed 
> anything, just opened it, taken some notes and sealed it again.  That 
> shouldn't bother me...  At least that's what I tell myself, when I am 
> staring at the Rosetta Stone or reading through a text on some historical 
> burial practice.
> However, the truly confusing part of the question, what do you do when the 
> bodies/tombs/crypts are mistakenly found or opened under extenuating 
> circumstances.  Circumstances like when the Two Princes (or bodies of what 
> might have been the two princes) were found in the staircase that was 
> being resettled in the Tower of London or when work needs to be done on a 
> crypt that was damaged in a fire.  This is the time I have the hardest 
> trouble deciding how I feel about it.
> I live across the street from an old cemetery (well old for California) 
> and there are stories of the coffins or bodies floating when the rivers 
> would flood.  The last time this happened, the floating coffins were 
> opened for examination (as is often the case since it is very difficult to 
> tell where each body goes)  Add to this, most of the coffins were falling 
> apart and the coffins were going to need to be replaced.  Therefore, the 
> bodies were taken for examiniation...  The people that examined them 
> didn't pull them from their crypts or from the ground, they were brought 
> out of their tombs by Mother nature.  Every body was given a new casket 
> and plunged back into the ground when the note taking was done.  But part 
> of my brain has problems with the fact that the coffins were opened in the 
> first place.  I don't know what to do with the Two Princes, I don't think 
> they should have been left in the staircase, but neither do I think they 
> should have been moved.
> I guess was I am trying to say is that, my answer to the question is not 
> cut and dry.  There is no simple answer to it.  My thirst for knowledge 
> (it may sound melodramatic, but I am told I am a rather melodramatic 
> person) makes me overlook what I consider to be an unacceptable practice. 
> However, the part of me that doesn't like the opening of crypts causes me 
> to question if I should pay money for a book based on excavation finds 
> from crypts and tombs.
> In other words, I don't know how I feel about it, and I guess that is why 
> I am so interested in other people's opinions on the subject.  Somewhere 
> deep down, I think I am also looking to hear other opinions, so that I can 
> better understand my own.
> Kit
> In a message dated 10/26/2004 2:37:51 PM Eastern Daylight Time, 
> Kitsune242@aol.com writes:
>>Greetings All!>>After reading the various e-mails for the last couple 
>>weeks about extant clothing and such, I am wondering where other people 
>>stand on the subject of opening tombs/crypts to study Textiles/Costumes 
>>from earlier eras. I would really like to get other opinions, before I 
>>post my own. However, if you feel this is not something that belongs on 
>>this list, but you wish to give me your opinions anyway, please feel free 
>>to contact me in private.>>Thanks in advance,>>-- >Kit>If you walk a mile 
>>in someone else's shoes, do you get to keep them? - Kenneth Cole
> _______________________________________________
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>
> 


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Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program
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>>Kennewick Man *IS* the local Native Americans' ancestor, even tho not a 
>>likely direct lineage of the Yakama, Nez Perce, Colville or the other two 
>>regional tribes<<

Last I heard, from the information they had, was that he *wasn't* related to 
the local tribes, and that was part of why it was decided to allow study of 
the bones, and that he may be related to the Ainu of Japan.


                   .
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           L! !   // /   Joan Broneske
            [_]  L[_|    unicorn@surewest.net

----- Original Message ----- 
From: "Althea Turner" <althea@alfalfapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 26, 2004 9:23 PM
Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program


>
> On Tuesday, October 26, 2004, at 08:28 PM, Wanda Pease wrote:
> [snip]
>
>> [snip] Now we have the Kennewick Man.
>
>>  Local indian tribes are having a hissy fit even though
>> their ancestors probably weren't even in America at that time.  [more 
>> snip]
>
> Ok, um, man has been in the Americas for up to 30-40,000 years depending 
> on whose theory you subscribe to.  Kennewick Man *IS* the local Native 
> Americans' ancestor, even tho not a likely direct lineage of the Yakama, 
> Nez Perce, Colville or the other two regional tribes whose names escape 
> me.  To say that the tribes are having a "hissy fit" negates their beliefs 
> in how the dead should be treated.  Being the writers of History does not 
> make that history correct.  There were many waves of settlement in the 
> Americas, Kennewick Man belongs to a middle period.
>
> Personally, I'm all for studying the Kennewick Man, and any other find 
> that comes along that can be shown to have a reasonable dis-connect from 
> modern tribes.  I'm in the "of two minds" camp.  I wish to honor the dead 
> (while respecting the beliefs of the locals) while wishing to know more 
> about them.  It's truly a conundrum.
>
>  If you are at all interested, there is a bill sponsored by Colorado Sen. 
> Ben Nighthorse Campbell moving through the Congress that could put 
> Kennewick Man (and many many more finds) out of reach of scientists for 
> good.  S. 2843 inserts two words into NAGPRA; "or was" which means that 
> any remains currently "or was" connected with modern tribes can be 
> repatriated under the act.  If you feel strongly, contact your 
> Congress-people and let your views be known.  It's passed out of committee 
> and will go to the floor, but I don't know when.  I've contacted mine.
>
> Just my tuppence.  Life is a pendulum and it swings to and fro.  Right now 
> it's fro-ing for all it's worth.  :D
>
> (To think that I used to party mere feet from where the skeleton was found 
> is boggling)
>
>
>> Althea Turner
> *** althea@alfalfapress.com
> *** http://www.alfalfapress.com
>
> I think, therefore I'm dangerous.
>
> I'll be Post-Feminist in a Post-Patriarchy
>
> _______________________________________________
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Hmmmmmmmm........maybe it does mean the wash away interfacing.  I think I have other needle lace instructions that call for it.  

Thanks
Julie

> 
> By any chance, might the product "Sulky"fall into this category;
> particularly the wash away variety.  I have directions from an old copy of
> "Threads" that show how to use it to make a modern 'point d'aria lace.? It
> looks something like stitch witchery, but comes in sheets.
> Kathleen
> ----- Original Message ----- 
> > > Kate Bunting
> > Library, University of Derby
> >
> > >>> jtknits@jtknits.cts.com 27/10/2004 05:46:14 >>>
> > >Any guesses on what contact is?  This is from "An Elizabethan
> > >Christmas" by Sheila Marshall.  "Contact and calico are used when
> > >creating needlelace or punto in aria.  The contact plastic adheres to
> > the >calico and creates a 'fabric' not unlike the parthment used for
> > this >purpose by the Elizabethans."
> >
> > I'm completely ignorant of these techniques, but presumably they create
> > an openwork fabric and the base fabric is eventually discarded? It
> > sounds as though the author does mean what we familiarly call
> > "sticky-back plastic".

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From: pixel <goddessandqueen@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: a medieval livery question
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On Tue, 26 Oct 2004 20:24:12 -0500 (CDT), Robin Netherton
<robin@shell.nightowl.net> wrote:
> 
> On Tue, 26 Oct 2004, Sunny Buchler wrote:
> 
> > > My SO remembers a reference somewhere about a medieval lord who
> > > clothed all his retainers in green. Unfortunately he can't remember
> > > where he read it, which is hampering my efforts to use the reference
> > > in my current research. Does it sound familiar to anyone?
> 
> >  This is probably not quite what you're looking for, but it might
> > help. There is a reference in Mary Stella Newton's _The Dress of the
> > Venetians, 1495-1525 _ to the well-off Venetians simply buying lots of
> > the same fabric to cloth their entire household. It might be a
> > different fabric every year, but it sounded like everyone in the
> > household got clothed in the same stuff.
> 
> There are similar references in, I think, Christopher Dyer's "Standards of
> Living in the Later Middle Ages." Dyer examines a lot of household
> inventories and account books to track expenditures for various categories
> of goods, including clothing. What I remember from the passage in question
> was that the household head (in this particular case) would buy some large
> quantity of a particular fabric -- whatever seemed like a good value at
> the time -- to make the clothing for a large proportion of the household
> members in a given year. The recipients were those people who would be
> given a new outfit annually as part of their pay or living arrangement;
> not just servants and squires and such, but also the occasional cousin or
> maiden aunt or nephew who happens to be living and working as part the
> household, and probably some of the children as well. The next year, or
> whenever the fabric stash ran out, the lord would arrange to get another
> large quantity of suitable fabric, which might easily have been a
> different color this time around.

The specific reference has something to do with people thinking it was
terribly extravagant, being green and all. I've got "Standards of
Living..." and I don't think this particular bit of info is in there.
This is why I've started writing down the sources of useful
references--although my SO's profession is photographic, his memory is
not.

> 
> This detail runs counter to the impression a lot of people have of lords
> always clothing their retainers in their heraldic colors.  It would
> generally have been obvious to locals that a person was a member of a
> particular household, because everyone would know that Lord So-and-So's
> retainers were all wearing orange (or whatever) that year. Thus you'll see
> references in literature or documents to identifying a person as Lord
> So-and-So's man because of the color of his clothing. However, the color
> would most likely have nothing to do with Lord So-and-So's actual heraldic
> device.

I wonder if that's one of those ideas that Hollywood helps reinforce,
because the color someone is wearing is a lot more obvious on film
than if said someone is wearing Lord Thus-and-Such's household badge.
> 
> The reference to someone clothing his household in "green" could have been
> a quote from some document, with green having no real significance save
> that that was the color in hand ("item: sixteen bolts of green wool for
> livery"). However, if it's from a literary manuscript, it might have a
> rhetorical or symbolic implication, as green had a number of overtones in
> literature for much of the Middle Ages. If that's the case, it wouldn't
> necessarily be a good reflection of what an actual household head might
> have done in choosing the year's livery fabric. There have been volumes
> written on why Robin Hood made a point of dressing his men in Lincoln
> green -- was it a cheap fabric, an expensive one, a reference to their
> outlaw status or forest dwelling, etc.
> 
> --Robin

That's why I want the original citation. If it's a reference to a real
happening, then I can use it as an example for my social distinctions
class and subsequent article. If it's a literary reference, then
probably not.

Many thanks,

Pixel
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Subject: Re: [h-cost] Re: opening tombs
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seamstrix@juno.com wrote:

> Personally, I have no problem with investigating graves to glean whatever
> information we can from what remains inside. The crucial element is the
> respect for the remains of the person. 

That's a key element for me too, respect for the remains. Part of that 
is waiting an arbitrarily 'decent' length of time after the burial. I 
would not, for example, be keen to support digs on graves from the last 
hundred years or so. I think it's up to the caretakers to decide if the 
reason is 'good enough' for opening a tomb, to study the remains for 
various scientific purposes, but unlike previous posters I think the 
study of textiles is a valid enough reason, especially given how fragile 
and perishable textiles can be compared to other grave goods.



Dawn


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Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program
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Wanda Pease wrote:

> 
> 
> Did anyone else feel frustrated with the crypt opening in that the program
> seemed to be so incomplete?  Big deal!  They opened the tombs, but there
> were no results really. 

I've come to expect that of most Discovery/ History channel type 
programming.




 >It sounds like the 1940's people despoiled the bodies (cutting the
 >flesh off!) just to prove some hair brained theory!  Now THAT I find
 >reprehensible - to destroy something and not even have the decency to
 >publish what they found.


I didn't get that impression at all. Just because the earlier research 
seems silly to us now doesn't mean it wasn't considered valid theory at 
the time and treated with the same seriousness as our current 
explorations. And while today we are very aware of the capabilities of 
genetic testing, it wasn't an option previously. I thought it was rather 
petty for the narrator to comment on the work of the anthropologists as 
if that field of study was somehow less valuable than another.

Do we know for fact that the study was never published, or have we 
simply been unable to locate the obscure journal where it appeared?




Dawn


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	[h-cost]	Re: opening tombs and Medici	Crypt program
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  Thanks.  I gotta stop buying what I see on "The Hitler Channel"...<G>  only that show claimed mummy-logs
on European trains, and unravelled to add wrappings to paper in the US.   Alledgedly why we have brown paper bags today...<G>

Liadain


http://www.straightdope.com/columns/020222.html

Excerpt:

The story isn't that Egyptians use mummies to heat their food now, it's 
that they used them in the 19th century to fuel their locomotives. We 
owe this wonderful conceit to Mark Twain, who in The Innocents Abroad 
(1869) ...

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

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Subject: Re: [h-cost] help with British terms
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  Yes- you end up with a lace.  The background is completely stripped away.
(Another sort is "aemilia ars", popular during the Arts and Crafts period).  I've done 
a very tiny bit, and I can see how the plastic might be helpful in letting your needle 
slide instead of digging into the base fabric where you don't want, but seems it would be
much harder than paper/parchment to get rid of when you're done!

Liadain

-----Original Message-----
From: Kate M Bunting <K.M.Bunting@derby.ac.uk>
Sent: Oct 27, 2004 2:22 AM
To: h-costume@indra.com
Subject: Re: [h-cost] help with British terms



Kate Bunting
Library, University of Derby

>>> jtknits@jtknits.cts.com 27/10/2004 05:46:14 >>>
>Any guesses on what contact is?  This is from "An Elizabethan
>Christmas" by Sheila Marshall.  "Contact and calico are used when
>creating needlelace or punto in aria.  The contact plastic adheres to
the >calico and creates a 'fabric' not unlike the parthment used for
this >purpose by the Elizabethans."

I'm completely ignorant of these techniques, but presumably they create
an openwork fabric and the base fabric is eventually discarded? It
sounds as though the author does mean what we familiarly call
"sticky-back plastic".
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Subject: Re: [h-cost] Re: opening tombs
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I may be off in left field here, but I _think_ I've read about forced 
burial-moving situations in the local paper.  I thought, if the burial 
was within a few generations, that the local authorities looked for 
living descendants and contacted them about what should be done with the 
body.  If Great-Grandmother gets washed out in a storm, presumably the 
immediate descendents would be the ones who care about where and how the 
body is reinterred, and whether it is acceptable for someone to study it 
first, if anyone wants to. 

Fran



> That's a key element for me too, respect for the remains. Part of that 
> is waiting an arbitrarily 'decent' length of time after the burial. I 
> would not, for example, be keen to support digs on graves from the 
> last hundred years or so. I think it's up to the caretakers to decide 
> if the reason is 'good enough' for opening a tomb, to study the 
> remains for various scientific purposes, but unlike previous posters I 
> think the study of textiles is a valid enough reason, especially given 
> how fragile and perishable textiles can be compared to other grave goods.
>
>
>
> Dawn
>
>
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> This is not a term I have come across. There is "Stitch'n'Tear" which is
> used for applique, and is the D*v*l to get off,

Some kinds of tear-away interfacing work well, some don't. Don't discard
them all just because you worked with the wrong kind once, my sewing teacher
used to have great stuff that would really tear away. Of course, you're not
supposed to get it out from under the stitches, you're just supposed to
remove the extra all around.
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Subject: Re: OT Archaeology shows (was:RE: [h-cost] Re: opening tombs
	andMedici Crypt program
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> One of the major points of any thesis is to CHALLENGE it and support it
> with substantive proofs, not attempt to "prove" it with repetitive
> gobbledegook.
>
> And that bit on Eleanor drove me nuts--"she had one child, then another,
> then another"--ok, we get it already!! My succinct little historian's
> brain was saying, "quit eating time, and why not just tell us she had 11
> kids?!"

Aah, so I wasn't the only one who felt like it was a show built for very,
very slow-thinking people... Like they were trying to stretch 5 minutes of
info to make 45 minutes... And kept repeating, repeating, repeating...
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Here in Copenhagen we have a discoteque lying just over an old medieval 
graveyard. They have made examinations there, still i cant cope with the 
idea that there is going to be so much noise all night long over such a 
place.
But i guess that happens many places. That is how it is when you have an old 
place.

Bjarne






Leif og Bjarne Drews
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http://home0.inet.tele.dk/drewscph/ 


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From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici
Date: Wed, 27 Oct 2004 11:36:43 -0700
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If any of you marvelous scholars can assist me in my quest I would be 
forever grateful.  I was recently in Italy, and in the Uffizi Galleries.  In 
the halls outside the main rooms there are many portraits.  There was one of 
a stunning lady in a red gown, approximately 1720-30 I was informed by the 
docents that it is of Anna Maria Luisa de'Medici.  (I'm completely guessing 
the portrait's date based on her life and the age of the woman in the 
portrait).  The dress was just magnificent, but one is not allowed to take 
even no flash photos in the Uffizi.  There was no book I could find that 
contained the portraiture in any of the outer halls.  (Boy what I wouldn't 
give, as it was all royalty and many many portraits that are not generally 
in art books).

If you more knowledgeable types are aware of a book that contains such 
portraits, specifically this one, or of a source for the portrait on line, I 
would appreciate being pointed in the right direction. I'm a huge fan of 
red, and I want to recreate this dress.  I love the idea that she was the 
lady who willed all of the Medici's treasures to the City of Florence in 
perpetuity. What a gal.

Thanks kindly

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
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] Portrait of Anna Maria Luisa de'Medici
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Dear Angela,
Not because i know anything about it, but would there not be a book about 
the galleries? Could it be possible that it would have this picture in it?
There must be a book about the Uffizi Gallery, i know that there are books 
about the Louvre in Paris.
I also admired a wonderfull portrait from 18th century at the Pallazo Pitti 
in Florence this summer, wich i never have seen before.
Isnt it great that there still are many things to explore?

Bjarne

----- Original Message ----- 
From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 27, 2004 8:36 PM
Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici


> If any of you marvelous scholars can assist me in my quest I would be 
> forever grateful.  I was recently in Italy, and in the Uffizi Galleries. 
> In the halls outside the main rooms there are many portraits.  There was 
> one of a stunning lady in a red gown, approximately 1720-30 I was informed 
> by the docents that it is of Anna Maria Luisa de'Medici.  (I'm completely 
> guessing the portrait's date based on her life and the age of the woman in 
> the portrait).  The dress was just magnificent, but one is not allowed to 
> take even no flash photos in the Uffizi.  There was no book I could find 
> that contained the portraiture in any of the outer halls.  (Boy what I 
> wouldn't give, as it was all royalty and many many portraits that are not 
> generally in art books).
>
> If you more knowledgeable types are aware of a book that contains such 
> portraits, specifically this one, or of a source for the portrait on line, 
> I would appreciate being pointed in the right direction. I'm a huge fan of 
> red, and I want to recreate this dress.  I love the idea that she was the 
> lady who willed all of the Medici's treasures to the City of Florence in 
> perpetuity. What a gal.
>
> Thanks kindly
>
> angela
> +++++
> Angela F. Lazear
> Cabbage Rose Costumes
> 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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici
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http://www.italiadonna.it/public/percorsi/biografie/imgs/004.jpg
If it's the Medici woman I think it was she was the last survivor of
the clan. You could also check the Virtual Uffizi and see if it's
there
http://www.arca.net/uffizi/

============================
Italian Ladies 2005 Calendar
http://www.lulu.com/kristalori
http://kristalori.com
http://snipurl.com/96f1 Dress Diaries
http://snipurl.com/9bir That 70's Trailer
============================
On Wed, 27 Oct 2004 11:36:43 -0700, Cabbage Rose Costumes
<cabbagerose@sbcglobal.net> wrote:
> If any of you marvelous scholars can assist me in my quest I would be
> forever grateful.  I was recently in Italy, and in the Uffizi Galleries.  In
> the halls outside the main rooms there are many portraits.  There was one of
> a stunning lady in a red gown, approximately 1720-30 I was informed by the
> docents that it is of Anna Maria Luisa de'Medici.
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From h-costume-bounces@indra.com  Wed Oct 27 15:08:47 2004
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From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Virginia 1830's- Workwoman's Guide
Date: Wed, 27 Oct 2004 15:14:07 -0400
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I just wanted to thank you guys for recommending this book- "A Workwoman's Guide". It arrived
today, and I *love* it! I got a used hardback copy, in great shape. Man, _every_ period needs a
book like this one! I've only skimmed through so far, (it's a pretty good sized book) but I can
tell it's going to be an enormous aid in learning about a new period for me. 

I also discovered that Wal-mart sells its homespun cotton checks in natural looking colors for
$2.00/yd.  I'm seeing our docents and volunteer kids looking much, much better by summertime!

Thanks again! 

::Linda::

 "Believe not because some old manuscripts are produced, believe not because it is your national
belief, believe not because you have been made to believe from your childhood, but reason truth
out, and after you have analyzed it, then if you find it will do good to one and all, believe it,
live up to it and help others live up to it."
-Buddha

-----Original Message-----
 You might try looking at the Workwoman's Guide; it was originally published 
in 1838 by "A Lady" in England.  There are many cap styles shown.  The book 
is now available in paperback.




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on 10/26/04 10:44 Kimberly wrote:

> That said, if I were to be dug up 500 years from now, I can only imagine
> what a row it would cause when it was discovered that I was wearing clothes
> from  
> an era 400 years previous to when I supposedly died.
> 
> 
Ha ha ha! Kimberley, you made my day!

Gail Finke

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Subject: Re: Mummies not fuel was: Re: OT Archaeology shows (was:RE:	[h-cost]
	Re: opening tombs and Medici	Crypt program
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Frank and Tracy Thallas wrote:

>   Thanks.  I gotta stop buying what I see on "The Hitler Channel"...<G>  only that show claimed mummy-logs
> on European trains, and unravelled to add wrappings to paper in the US.   Alledgedly why we have brown paper bags today...<G>

Goes to show they didn't do even the most basic of fact-checking.  Lordy.

-- 
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Subject: Re: Mummies not fuel was: Re: OT Archaeology shows (was:RE:
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     Well, we don't want to detract from the sensationalism with boring old facts, now do we? <G>

Liadain
now morbidly wondering how fast a well-dried, linen-wrapped, resin-soaked mummy would burn....

Subject: Re: Mummies not fuel was: Re: OT Archaeology shows (was:RE:	[h-cost]	Re: opening tombs and Medici	Crypt program


Goes to show they didn't do even the most basic of fact-checking.  Lordy.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Having messed around a bit with this sort of lace-making, where the
fabric/parchemt/whatever is completely discarded, I have to say I love the
idea of a disposable surface covered with contact plastic. With the paper
and interfacing that I tried, I kept obliterating too much of the cartoon
with my needle, and all the little tears my needle made in the paper got in
the way and abraded the threads. A nice smooth surface for my needle (and
later on, my scissors) sounds great! I bet it would also stabilize the
couching threads, and keep the couched threads from moving around so much.

Thanks for bringing this question to the list! =}

-E House, gonna go play with that if I ever get through some of this
ridiculous stack of projects...

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>I also discovered that Wal-mart sells its homespun cotton checks in 
>natural looking colors for
>$2.00/yd.  I'm seeing our docents and volunteer kids looking much, much 
>better by summertime!

Some of that stuff is very non-colorfast.  Wash it once before using it, 
especially the blue stuff.  I've been using a yard of the blue to tint 
stuff for several washings now - yes, deliberately.

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

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>interfacing.  I'm doing an Elizabethan style embroidery with silk fabric and
>silk threads.  I don't want to use modern interfacing.  What else might have
>been used in period?

I seem to recall, from the Janet Arnold book with patterns, that stiff 
linen was used.


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

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Subject: Re: [h-cost] help with British terms
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tried waste canvas?

Arlys

On Wed, 27 Oct 2004 12:57:05 -0400 "Audrey Bergeron-Morin"
<audreybmorin2@hotmail.com> writes:
> > This is not a term I have come across. There is "Stitch'n'Tear" 
> which is
> > used for applique, and is the D*v*l to get off,
> 
> Some kinds of tear-away interfacing work well, some don't. Don't 
> discard
> them all just because you worked with the wrong kind once, my sewing 
> teacher
> used to have great stuff that would really tear away. Of course, 
> you're not
> supposed to get it out from under the stitches, you're just supposed 
> to
> remove the extra all around.
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Wed, 27 Oct 2004 21:58:18 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: opening tombs
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Chindora@aol.com wrote
>
<snip>
> I
>believe that as much as possible the religious beliefs of the  deceased 
>should be
>given more weight than our own hunger to learn more about how  their undies
>were stitched together.
<snip>

I had a (very irreverent) mental image of some poor chap in Valhalla, or 
Elysium, or any afterlife where they believed you needed grave goods to 
take with you and use, suddenly having his beaker go *pop* out of his 
hand, and his sword go *pop* from his belt, and his clothes..... :-0  !!

Jean

-- 
Jean Waddie
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Subject: RE: [h-cost] Virginia 1830's- Workwoman's Guide
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Really! Well, that is certainly good to know! Just looking at it on the various bolts, it looks
identical to what commonly gets sold through the specialty suppliers for 3 and 4 times the price. I
guess for 2 bucks, I can afford to experiment. ;o) 

Thanks bunches!

::Linda::

 "I was born not knowing and have only had a little time to change that here and there."
-Richard Feynman

-----Original Message-----
 On Behalf Of Carolyn Kayta Barrows
 Some of that stuff is very non-colorfast.  Wash it once before using it, 
especially the blue stuff.  I've been using a yard of the blue to tint 
stuff for several washings now - yes, deliberately.

{I had written}
>I also discovered that Wal-mart sells its homespun cotton checks in 
>natural looking colors for
>$2.00/yd.  



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	<00a801c4bc55$6ecbd270$4096fea9@CPQ21932199711>
Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici
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You are so sweet.  As far as I could tell, the books in the gift shop 
specifically about the Uffizi, only contained the major works there, such as 
the Rafaels and the Botticellis. The Uffizi is so huge that many of the 
portraits are not considered "worthy" of mention.  This one might be in a 
book, simply because of her legacy (she gave much of what is in the Uffizi 
to Florence, all of the de'Medici portraits, etc) but I was unable to find 
it in any of the books I saw there.

a
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 27, 2004 11:47 AM
Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici


> Dear Angela,
> Not because i know anything about it, but would there not be a book about 
> the galleries? Could it be possible that it would have this picture in it?
> There must be a book about the Uffizi Gallery, i know that there are books 
> about the Louvre in Paris.
> I also admired a wonderfull portrait from 18th century at the Pallazo 
> Pitti in Florence this summer, wich i never have seen before.
> Isnt it great that there still are many things to explore?
>
> Bjarne
>
> ----- Original Message ----- 
> From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, October 27, 2004 8:36 PM
> Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici
>
>
>> If any of you marvelous scholars can assist me in my quest I would be 
>> forever grateful.  I was recently in Italy, and in the Uffizi Galleries. 
>> In the halls outside the main rooms there are many portraits.  There was 
>> one of a stunning lady in a red gown, approximately 1720-30 I was 
>> informed by the docents that it is of Anna Maria Luisa de'Medici.  (I'm 
>> completely guessing the portrait's date based on her life and the age of 
>> the woman in the portrait).  The dress was just magnificent, but one is 
>> not allowed to take even no flash photos in the Uffizi.  There was no 
>> book I could find that contained the portraiture in any of the outer 
>> halls.  (Boy what I wouldn't give, as it was all royalty and many many 
>> portraits that are not generally in art books).
>>
>> If you more knowledgeable types are aware of a book that contains such 
>> portraits, specifically this one, or of a source for the portrait on 
>> line, I would appreciate being pointed in the right direction. I'm a huge 
>> fan of red, and I want to recreate this dress.  I love the idea that she 
>> was the lady who willed all of the Medici's treasures to the City of 
>> Florence in perpetuity. What a gal.
>>
>> Thanks kindly
>>
>> angela
>> +++++
>> Angela F. Lazear
>> Cabbage Rose Costumes
>> 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] Re: tombs, etc.
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Actually, I've been threatening to do that for years :)  Hopefully, some 
archaeology student in the future could get a thesis out of it.

Susan

----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Wednesday, October 27, 2004 2:15 PM
Subject: [h-cost] Re: tombs, etc.


> on 10/26/04 10:44 Kimberly wrote:
>
>> That said, if I were to be dug up 500 years from now, I can only imagine
>> what a row it would cause when it was discovered that I was wearing 
>> clothes
>> from
>> an era 400 years previous to when I supposedly died.
>>
>>
> Ha ha ha! Kimberley, you made my day!
>
> Gail Finke
>
> _______________________________________________
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> h-costume@mail.indra.com
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program
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Wanda Pease wrote:

>More importantly I thought how I would feel if my parents, whom I loved
>dearly, were so exhumed.  As long as their bodies were treated with respect
>and something actually learned I would have no problem there either.  I
>would have a problem with grave-robbing where they were dug up and torn
>apart for their wedding rings, collectable tie or stick pins as has happened
>for centuries (the last Medici grave) and is happening now in Iraq.
>
>
>Regina
>

Grave robbing is still a problem today.  Not only modern graves, but 
very common are Civil War solders graves being dug up for buttons and 
other items.  This got to be such a problem in one area that the local 
Civil War renactors started doing patrols.  Caught one gentlemen just 
before he opened a coffin.  Pity that tombstone fell on him, and broke 
both his legs.  The police declared it an accident and shipped him off 
to jail.  Karma can be a pain!

Stephen Bergdahl
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From h-costume-bounces@indra.com  Wed Oct 27 18:44:57 2004
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Subject: [h-cost] British Terms & lace making
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Hmmm........that makes sense.  Now to wrestle with my conscience and decide do I go for the best final project I can make or do I use period materials and methods and put up with a lesser result?  Maybe do one flower petal with each method and decide from there <G>.  I know the "Nazis" of the club would rather see all period methods & materials. LOL
Thanks for the great feedback on this!
Julie

****************************
Having messed around a bit with this sort of lace-making, where the
fabric/parchemt/whatever is completely discarded, I have to say I love the
idea of a disposable surface covered with contact plastic. With the paper
and interfacing that I tried, I kept obliterating too much of the cartoon
with my needle, and all the little tears my needle made in the paper got in
the way and abraded the threads. A nice smooth surface for my needle (and
later on, my scissors) sounds great! I bet it would also stabilize the
couching threads, and keep the couched threads from moving around so much.

Thanks for bringing this question to the list! =}

-E House, gonna go play with that if I ever get through some of this
ridiculous stack of projects

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] British Terms & lace making
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>Hmmm........that makes sense.  Now to wrestle with my conscience and 
>decide do I go for the best final project I can make or do I use period 
>materials and methods and put up with a lesser result?  Maybe do one 
>flower petal with each method and decide from there <G>.  I know the 
>"Nazis" of the club would rather see all period methods & materials. LOL

Do they call themselves Nazis?  That term isn't period till like the 1930s.


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

              //// \\\
             ////-@@\\\
            ((((   7 )))
             (((  <> ))))
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In a message dated 10/27/2004 4:19:49 PM Pacific Daylight Time,  
kayta@frys.com writes:


Do  they call themselves Nazis?  That term isn't period till like the  1930s.



Thank you Carolyn, I really needed that laugh.
 
Bwahahahaha!!!!!!!!
 
:)
 
Kimberley
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The former FBI agent Mark Olshaker (sp? something like that) wrote an
interesting book several years ago called "The Cases that Haunt Us." He
looks at a couple of famous old murder cases as a modern forensic team
would. I believe he concluded that Lizzie Borden did kill her parents, but I
wouldn't swear to it. It was a fascinating book -- the chapter on Jack the
Ripper was particularly good, though horribly disgusting. I had never heard
exactly what the Ripper actually did, and I learned more than I wanted to
know. But he has a very convincing solution for that one, which he claims
was actually recorded at the time by the investigating police.

Gail Finke


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Subject: [h-cost] Faux fur trim
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Does anyone know who sells good faux fur trim online?  The kind with 
finished selvages, that is you don't have to cut it out of faux fur 
garment fabric?  Maybe 2-3 inches wide?

I have nothing against real fur, but this stuff is easier to handle for 
what I want (which is to put it on the edges of a suede poncho).

Thanks for any info.

Fran
Lavolta Press
Two new books of 1870s and 1880s patterns!
http://www.lavoltapress.com
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From h-costume-bounces@indra.com  Wed Oct 27 20:45:59 2004
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From: gia_gavino@comcast.net (Elena O'Tighearnaigh)
To: h-costume@indra.com (Costume Historical),
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Date: Thu, 28 Oct 2004 00:44:50 +0000
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I was coming back from the Court Cafe in the UW medical center when this notice about a scheduled Grand Round lecture caught my eye:

"Looking up a Kilt"

I'll give you 3 guesses what the Grand Round lecture was about...

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares
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Subject: Re: [h-cost] Faux fur trim
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In a message dated 10/27/2004 8:40:57 PM Eastern Daylight Time,  
fran@lavoltapress.com writes:

Does  anyone know who sells good faux fur trim online?  The kind with  
finished selvages, that is you don't have to cut it out of faux fur  
garment fabric?  Maybe 2-3 inches wide?

I have nothing against  real fur, but this stuff is easier to handle for 
what I want (which is to  put it on the edges of a suede poncho).




(_http://www.mjtrim.com/catalog/product.aspx?product=32006&variant=----01-ALL_
 
(http://www.mjtrim.com/catalog/product.aspx?product=32006&variant=----01-ALL) )
Well, this stuff has only a 1" wide selvage, but the fur  itself is 1.5" 
wide.  Comes in black, brown, and white (the white is rather  temptingly pretty 
for ermine-trim..).  Mind the wrap if there is  any.
 
Christine
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From h-costume-bounces@indra.com  Wed Oct 27 20:52:19 2004
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From: Jacqueline Johnson <jacquelinejbump@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Faux fur trim
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I'm not sure if they offer trims with their by the yard stuff but it
can't hurt to ask them. I've found these two places my best source.
http://www.fabfurs.com/index.asp
(I like Fabfurs enough they are the only adverter on my home page)
and my favorite for more outrageous furs:
http://www.prefurs.com/index.asp
Both offer really fantastic customer service and both go out of the
way to help me when I need a fake fur for a piece of clothing.

B~
============================
Italian Ladies 2005 Calendar
http://www.lulu.com/kristalori
http://kristalori.com
http://snipurl.com/96f1 Dress Diaries
http://snipurl.com/9bir That 70's Trailer
============================
On Wed, 27 Oct 2004 17:39:53 -0700, Lavolta Press <fran@lavoltapress.com> wrote:
> Does anyone know who sells good faux fur trim online?  The kind with
> finished selvages, that is you don't have to cut it out of faux fur
> garment fabric?  Maybe 2-3 inches wide?
> 
> I have nothing against real fur, but this stuff is easier to handle for
> what I want (which is to put it on the edges of a suede poncho).
> 
> Thanks for any info.
> 
> Fran
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: opening tombs
Date: Wed, 27 Oct 2004 19:46:01 -0700
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When I lived in Germany in the 1980's and 90's you could go to the local
churchyard and see all the headstones stacked against the walls.  Evidently
you only "rented" the plot for about 80-100 years.  After that they
re-rented the plot and re-used it.

It makes sense to me after seeing the huge war cemeteries there from WW I
and II.  They cover acre after acre.  Think of how many people have died
there over the last 1000 years or so!  You couldn't keep up the present
American habit of one person to a grave forever and ever, amen!  :-)

When they made a city park out of the Pioneer graveyard in my home town,
they moved almost every grave to another cemetery.  There were still a few
monuments there to play on when I was a child.  We certainly weren't
reverent, but we were a tribute to the efforts those people made in bringing
life to the town.

Wanda Pease/Regina Romsey
"Life is not a journey to the Grave
with the intention of arriving safely
in a pretty and well preserved body
but rather to skid in broadside,
thoroughly used up, totally worn out,
and loudly proclaiming --Wow! What A Ride!!"
>


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Subject: RE: [h-cost] British Terms & lace making
Date: Wed, 27 Oct 2004 22:15:29 -0500
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Please forgive my denseness but I do not understand how the best final project conflicts with period materials. Please explain?

De

-----Original Message-----
Hmmm........that makes sense.  Now to wrestle with my conscience and decide do I go for the best final project I can make or do I use period materials and methods and put up with a lesser result?  Maybe do one flower petal with each method and decide from there <G>.  I know the "Nazis" of the club would rather see all period methods & materials. LOL
Thanks for the great feedback on this!
Julie



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Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program
Date: Wed, 27 Oct 2004 23:56:43 -0400
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I watched a PBS piece this evening on the possible scientific cause (ergot?)
for the weird symptoms of the 'victims' of Witches (Salem and others). The
premise and the pursuit to solve the mystery were quite well done. This one
has its better points.
Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 27, 2004 12:06 PM
Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program


> Wanda Pease wrote:
>
> >
> >
> > Did anyone else feel frustrated with the crypt opening in that the
program
> > seemed to be so incomplete?  Big deal!  They opened the tombs, but there
> > were no results really.
>
> I've come to expect that of most Discovery/ History channel type
> programming.
>
>
>
>
>  >It sounds like the 1940's people despoiled the bodies (cutting the
>  >flesh off!) just to prove some hair brained theory!  Now THAT I find
>  >reprehensible - to destroy something and not even have the decency to
>  >publish what they found.
>
>
> I didn't get that impression at all. Just because the earlier research
> seems silly to us now doesn't mean it wasn't considered valid theory at
> the time and treated with the same seriousness as our current
> explorations. And while today we are very aware of the capabilities of
> genetic testing, it wasn't an option previously. I thought it was rather
> petty for the narrator to comment on the work of the anthropologists as
> if that field of study was somehow less valuable than another.
>
> Do we know for fact that the study was never published, or have we
> simply been unable to locate the obscure journal where it appeared?
>
>
>
>
> Dawn
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Wed, 27 Oct 2004 20:41:48 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] Crypts and Costume Research (Sort of Off Topic)
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At 2:37 PM -0400 10/26/04, Kitsune242@aol.com wrote:
>Greetings All!
>
>After reading the various e-mails for the last couple weeks about 
>extant clothing and such, I am wondering where other people stand on 
>the subject of opening tombs/crypts to study Textiles/Costumes from 
>earlier eras.  I would really like to get other opinions, before I 
>post my own.  However, if you feel this is not something that 
>belongs on this list, but you wish to give me your opinions anyway, 
>please feel free to contact me in private.

I'm definitely on the side of "if they're long dead, no problem", but 
there's a complex issue that I haven't noticed anyone else bring up. 
(I may have missed it -- I've been skimming a bit.)  Standards and 
techniques in archaeology improve all the time.  The most careful and 
attentive excavations of a century ago look like bumbling 
barely-better-than-looters today.  And our efforts today are likely 
to look the same in another century.  So there's a good argument that 
we should be careful and selective about opening tombs solely for the 
purpose of studying the clothing or other contents (Much as it pains 
me not to know about every stitch in existence everywhere!)  Rescue 
projects when a tomb is going to be disturbed for other reasons is an 
entirely different subject, of course.  Then there's every reason for 
studying all we can with the techniques currently available.  Of 
course, when the subject is textiles rather than pots, there's also 
the issue of degradation over time.  If we have reason to believe 
that a tomb has informative contents but that those contents are 
currently gradually degrading, do we have a duty to examine them now 
on the premise that the improvement in future techniques won't 
balance out the loss of quality of the subject?

I'm greedy; I want to know about every garment hidden in every tomb 
and grave ... and I want to know about them _now_.  But I've also 
read the descriptions of what has happened to textile finds in the 
past and think about what future generations would think if we rushed 
to rummage through everything out of greed ... even greed for 
knowledge.

Heather
-- 
****
Heather Rose Jones
heather.jones@earthlink.net
****
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Sounds like what I heard them do in New Orleans due to lack of space.  


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Wanda Pease
Sent: Wednesday, October 27, 2004 7:46 PM
To: Historical Costume
Subject: RE: [h-cost] Re: opening tombs

When I lived in Germany in the 1980's and 90's you could go to the local
churchyard and see all the headstones stacked against the walls.  Evidently
you only "rented" the plot for about 80-100 years.  After that they
re-rented the plot and re-used it.

It makes sense to me after seeing the huge war cemeteries there from WW I
and II.  They cover acre after acre.  Think of how many people have died
there over the last 1000 years or so!  You couldn't keep up the present
American habit of one person to a grave forever and ever, amen!  :-)

When they made a city park out of the Pioneer graveyard in my home town,
they moved almost every grave to another cemetery.  There were still a few
monuments there to play on when I was a child.  We certainly weren't
reverent, but we were a tribute to the efforts those people made in bringing
life to the town.

Wanda Pease/Regina Romsey
"Life is not a journey to the Grave
with the intention of arriving safely
in a pretty and well preserved body
but rather to skid in broadside,
thoroughly used up, totally worn out,
and loudly proclaiming --Wow! What A Ride!!"
>


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Subject: Re: [h-cost] Re: opening tombs and Medici Crypt program
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On Wednesday 27 October 2004 1:19 am, Wanda Pease wrote:
> Grin!
>
> > I doubt Ms. Kenyon planned to die when she did.  :-)
> >
> > Now if she had merely squirreled away the material she collected
> > in the dig
> > without trying to prepare any of it for publication, I would
> > agree with you.
>
> I doubt that she "planned" to either.  However, what she did was dig, and
> dig, and dig without putting her notes in any kind of order.  She was
> notorious for "keeping it all in her head".  When the dark angel came for
> her I'm sure she was trying to waive him off until she got one more pot
> cleaned up. :-)  

If failing to plan projects better were a mortal sin, nobody would make it 
into Heaven.  I join you in regretting the information lost through Ms. 
Kenyon's poor work habits, but I find it hard to blame her much for the same 
type of error I might have committed if I had been in her shoes.

[snip]
>
> It is bad enough that several countries now require digs be published
> before another is started. 

Is that so bad?  At least it minimizes the type of situation Ms. Kenyon 
created--doing a dig and destroying a site without getting the valuable 
information out to the academic community.


> Archeologists who don't publish don't get to 
> dig any more.  At least they do keep the pottery as intact as they can,
> which can't be said for most bulldozers!

True.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: Re: [h-cost] Re: opening tombs
Date: Thu, 28 Oct 2004 02:18:26 -0400
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One thing I found when looking at cemetery records... for my father's family, the contact information for the family plot was the people who purchased the plot.  In this case was my grandfather's address in 1913.  All of their family moved out of the state by 1920.  In another graveyard, the church didn't have detailed records of who was actually buried in the cemetery.  My g-grandmother and two of her sons are in unmarked graves in this location.  So how does this church even know where their graves are located.   

Sadly, this problem is happening all over the country.  Within the past decade, genealogists are being more aware of this problem with graveyards.  Several historical and genealogical societies are trying to document the gravesites and posting the information on the internet.  With the internet being such a powerful tool for genealogists, people are seeing the outdated records, like I did with my father's family, and updating contact information for the gravesites.

This documenting project has been a long and tedious one.  I don't think they could ever have enough volunteers.  Properties do get sold, gravesites do over-grow, and sadly, some graves collapse or the headstones weather beyond recognition.  

There is a website... I think gen-root, someone on list probably knows the URL, and you can find the societies that are trying to document these graveyards.  They are listed by state and country.  The cemetery with my father's family is owned by the city and is well kept.  So please don't think because the graveyard is cared for, that current contact information is on record. 

I photograph a lot of artwork in graveyards and you would be surprised how many tombstones have faded inscriptions, broken stones, collapsed graves, etc. Everywhere I travel, I try to make a point to visit graveyards.  And have seen these problems in almost every graveyard.  Even while in Wales during Sept. I saw 1840-1920s graves like this.

On a lighter side, I was photographing in a crypt in Liverpool in Sept. I had meet two nuns and we decided to go on the crypt tour together.  Our small group got locked into the crypt on accident.   While waiting for someone to find us, I thought, "Well if I would ever be trapped in a crypt, who better to be in company with than two nuns."

Penny E. Ladnier (who took the floating caskets in the film Poltergeist too seriously)
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Subject: Re: [h-cost] Crypts and Costume Research
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I noticed the (off topic) in the subject header.  This is a very good discussion since we are upon the *costumer's holiday,* Halloween, followed by All Souls/Saint Day, Nov. 1.  I have enjoyed reading the posts.  Thank you Kit for asking these pondering questions.

At the 2000 Williamburg Costume Society (CSA) symposium, there was a presentation by a team of people who reported their findings from an excavation site in Louisiana.  At first I really didn't want to attend the presentation, but it came directly after a presentation on something that I was really interested in.  They rolled from one presentation to another.  So our little group sat through the excavation presentation.  Prior to the presentation, I thought from the presentation's title, that this topic was a little too morbid for me.

This presentation was probably one of the best I have ever seen.  I think Ann Wass stayed for this presentation, so maybe she can help explain the it too.  There was a site where three early 1800s graves had collapsed.  There was a team, I think from LSU, who gained permission from the present day family to do an excavation.  The bodies were two adult women (sisters) and one of their children.  The excavation team consisted of archaeologists and textile experts.  The presentation at the Symposium was presented as a tag team.  

The findings from the textiles for the ladies explained their cause of death.  The women had some type of female problems... I can't recall the exact name, but it wasn't pregnancy.  I believe both women were in their 30s.  The way the experts came to this conclusion was because of the body's physical condition and interesting pieces of fabrics that was laid in their pelvic area.  Ann, please can correct me if needed, but I believe the team said the textiles had been blood stained.  Interesting about the young boy, that prior to burial, his name was written in each piece of his clothing.  The textiles were in fairly good condition.  

If you are interested in hearing the whole presentation, the symposium has an audio recording that you can purchase from CSA.  I think you can call the national office or email them.  The website is www.costumesocietyamerica.com .

A little different slant...

When I was growing up, we had Choctaw burial mounds on our farm. We owned all of the land, except large circles encompassing the mounds.  The mounds were protected by the state of Mississippi.  Our farm was surrounded by a state park.  My brothers would play along the beaches and find old pottery and arrowheads.  The finds would wash up on the shores, especially after hurricanes.  My father had to turn my brothers' finds over to the state park.  It was part of our agreement for living on this land.  We were never allowed to go close to the mounds, nor was our farm animals.  We passed the mounds daily going down the road to our house.  We planted crops around the mound fields but not in the mound area.  The whole farm area is now a protected area by the government as a historic site because of the amount of artifacts found after we moved.  The mounds are still there. After a few more hurricanes, more artifacts sufficed of the local tribes/clans. 

I, too, flounder over when is an appropriate time and place to bother gravesites or should we leave them alone.  I think when there is a reason to do an excavation, and the properly trained people do it, then it is appropriate.  This particular Choctaw tribe/clan believed in respecting their burial sites. My family and the state respected it.  On the other hand, I do believe in the excavations of Ancient Egypt to learn more about their society.  But I don't want someone digging into my great-grandmother's gravesite because the church didn't know where in the graveyard she was located.

When I took my grad level Egyptian art course, some of the people excavating Egyptian sites were our guest lecturers.  They said at the most 10% of ancient Egypt is above the ground, 90% is covered by sand.  Many artifacts are being destroyed by the salt in the water or air.  It is really important to preserve what is there of Ancient Egypt. One of the chief excavators/guest lecturers has been on one excavation site every year since the 1960s. 

On the other hand... part of the graveyard at Jamestown is in the James River... and lord only know how many bodies have floated out to the Chesapeake Bay/Atlantic when the river floods though the centuries.  Last week, I watched a PBS show about the Ancient Phoenicians (sp?) and the archaeological digs are how they are finding out more about this civilization that little is know about.

One thing I did take to heart from my Egypt course was... the soul of a person or civilization is remembered as long as their name is spoken or written. This was believed by this ancient civilization.  King Tut's name was erased from Egyptian's history until Howard Carter discovered his tomb... Something to really think about.  Do you own a piece of clothing or trinket of a passed loved one? Why do you keep it? Do you think of them when you take it out?  I always try to find the oldest tombstone in a graveyard.  Then I say the person's name aloud.  For that one moment a soul is remembered.   
   
Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
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> I'm completely ignorant of these techniques, but presumably 
> they create an openwork fabric and the base fabric is 
> eventually discarded? It sounds as though the author does 
> mean what we familiarly call "sticky-back plastic".

I've been wondering if that was what they meant.  Self adhesive
paper/plastic/borders etc.

"Fablon" is  a brand-name for it.  It comes in all sorts of colours and
effects as well as "clear"

Teddy

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The crypt for the 'Margarites' in Montreal is a fascinating place.  It is
located in the bottom of the chapter house that used to be a hospital...now
a retirement home for elderly Sisters.
Kathleen
----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 28, 2004 2:18 AM
Subject: Re: [h-cost] Re: opening tombs


One thing I found when looking at cemetery records... for my father's
family, the contact information for the family plot was the people who
purchased the plot.  In this case was my grandfather's address in 1913.  All
of their family moved out of the state by 1920.  In another graveyard, the
church didn't have detailed records of who was actually buried in the
cemetery.  My g-grandmother and two of her sons are in unmarked graves in
this location.  So how does this church even know where their graves are
located.

Sadly, this problem is happening all over the country.  Within the past
decade, genealogists are being more aware of this problem with graveyards.
Several historical and genealogical societies are trying to document the
gravesites and posting the information on the internet.  With the internet
being such a powerful tool for genealogists, people are seeing the outdated
records, like I did with my father's family, and updating contact
information for the gravesites.

This documenting project has been a long and tedious one.  I don't think
they could ever have enough volunteers.  Properties do get sold, gravesites
do over-grow, and sadly, some graves collapse or the headstones weather
beyond recognition.

There is a website... I think gen-root, someone on list probably knows the
URL, and you can find the societies that are trying to document these
graveyards.  They are listed by state and country.  The cemetery with my
father's family is owned by the city and is well kept.  So please don't
think because the graveyard is cared for, that current contact information
is on record.

I photograph a lot of artwork in graveyards and you would be surprised how
many tombstones have faded inscriptions, broken stones, collapsed graves,
etc. Everywhere I travel, I try to make a point to visit graveyards.  And
have seen these problems in almost every graveyard.  Even while in Wales
during Sept. I saw 1840-1920s graves like this.

On a lighter side, I was photographing in a crypt in Liverpool in Sept. I
had meet two nuns and we decided to go on the crypt tour together.  Our
small group got locked into the crypt on accident.   While waiting for
someone to find us, I thought, "Well if I would ever be trapped in a crypt,
who better to be in company with than two nuns."

Penny E. Ladnier (who took the floating caskets in the film Poltergeist too
seriously)
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm
www.costumeclassroom.com
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From: Lauren Walker <lauren.walker@comcast.net>
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Subject: [h-cost] Magazines for costumers?
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Hi, o knowledgable ones,
I am aware of the research-oriented, academic magazines for costume history.
But, are there magazines for historical costumers of a more general -- and
sewing-oriented -- nature? I know there's recently been a thread listing
publications and organizations,  but I would appreciate your thumbnail
descriptions of the magazines, not just their names. If this is boring,
please feel free to reply off-list: lauren.walker@comcast.net.

Thanks very much!
Lauren

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Subject: Re: [h-cost] Crypts and Costume Research
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On Thu, 28 Oct 2004 04:27:30 -0400 "Penny Ladnier" 

(much snippage) 
> One thing I did take to heart from my Egypt course was... the soul 
> of a person or civilization is remembered as long as their name is 
> spoken or written. This was believed by this ancient civilization.  
> King Tut's name was erased from Egyptian's history until Howard 
> Carter discovered his tomb... Something to really think about.  Do 
> you own a piece of clothing or trinket of a passed loved one? Why do 
> you keep it? Do you think of them when you take it out?  I always 
> try to find the oldest tombstone in a graveyard.  Then I say the 
> person's name aloud.  For that one moment a soul is remembered.   

One of the things I really like about the Ancient Egyptian display at the
Field Museum in Chicago is that they have a large plaque on the wall that
basically says that if you remember/say the names of the people they have
in the display, you help them stay 'alive' in the after life. They give
you an English translation of a traditional Egyptian prayer for the dead
and then a list of the known names plus a reminder of the numerous
individuals for which they have no name and they invite you to say the
prayer yourself. It's just one of the very cool aspects of the exhibit.
Another indication that they are more sensitive to Egyptian beliefs than
they used to be is that they put ushabti figures in each case with the
mummy. For those of you who are not Ancient Egypt geeks, ushabtis are
small human figures (statues) who were thought to perform the tasks
required of the dead in the afterlife- without the ushabti, the dead
person would have to do it themselves or do without! 


Karen

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From h-costume-bounces@indra.com  Thu Oct 28 10:00:49 2004
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Subject: [h-cost] "Medieval" pattern for fairy tale prince costume?
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Dear All,

I know next to nothing about anything between the 12th andthe 16th centuries,
but would like to make a generic Brothers Grimm prince costume and something
"Medieval" comes to mind.

Does anyone know where I could find a pattern for a male outfit that looks like
the Page of Pentackles in the Tarot?

I have started a Sewing project progress diary for this costume (it includes a
Barbie as Princess Thumbelina ;-) and you can see what I mean here:

http://www.kipar.org/salacious-historian/costume-diaries/2004-fairy-tale.html

Thanks for any pointers

Nicole

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Date: Thu, 28 Oct 2004 07:38:15 -0700
Subject: Re: [h-cost] Faux fur trim
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Call me old fashioned, but...

I really shy away from buying fake fur online. Mainly because fake fur
can be badly done--bad fur sheds like crazy if you brush it; good fur
won't.

Good luck!

Arlys

On Wed, 27 Oct 2004 20:50:03 EDT IceGirlNIN@aol.com writes:
>  
> In a message dated 10/27/2004 8:40:57 PM Eastern Daylight Time,  
> fran@lavoltapress.com writes:
> 
> Does  anyone know who sells good faux fur trim online?  The kind 
> with  
> finished selvages, that is you don't have to cut it out of faux fur  
> 
> garment fabric?  Maybe 2-3 inches wide?
> 
> I have nothing against  real fur, but this stuff is easier to handle 
> for 
> what I want (which is to  put it on the edges of a suede poncho).
> 
> 
> 
> 
>
(_http://www.mjtrim.com/catalog/product.aspx?product=32006&variant=----01
-ALL_
>  
>
(http://www.mjtrim.com/catalog/product.aspx?product=32006&variant=----01-
ALL) 
> )
> Well, this stuff has only a 1" wide selvage, but the fur  itself is 
> 1.5" 
> wide.  Comes in black, brown, and white (the white is rather  
> temptingly pretty 
> for ermine-trim..).  Mind the wrap if there is  any.
>  
> Christine
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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Subject: Re: [h-cost] "Medieval" pattern for fairy tale prince costume?
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> I have started a Sewing project progress diary for this costume (it 
> includes a
> Barbie as Princess Thumbelina ;-) and you can see what I mean here:
>
> http://www.kipar.org/salacious-historian/costume-diaries/2004-fairy-tale.html
>
> Thanks for any pointers
>
> Nicole
>

I have that same pattern! I used it to make a kirtle and sideless gown for a 
Barbie for a friend. The worst thing about Barbie clothing is those teeny 
tiny wrist opening! I'm trying to think of a way to finish them that will 
look good and still fit over her hands.

Dianne 


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Subject: Re: [h-cost] Crypts and Costume Research
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Karen,

I interviewed one of our guest lecturers for an hour or so.  He was a professor from I believe the Art Institute in Chicago.  He is the one who makes an annual trip to Egypt every year since the 1960s.  They tag team excavating with a British team.  The work they do is so fascinating.  They use no modern machinery for digging.  The area is so remote, they can not get resources such as gas to run modern equipment.  

I did get to see the touring exhibit that was at the VA Museum of Fine Arts while taking my class.  Such a wonderful exhibit.  I especially liked the mummy and the figurines of the field workers.  The pectoral necklace was stunning.  My first mummy to see was at the Carnegie Museum at Pittsburgh.  They have a nice collection too.  A friend bought me the original exhibit book from the King Tut U.S. tour in the 1970s.  If you can find a used book of this it is WONDERFUL. 

My husband and I was planning for our 30th anniversary to go to Egypt to research for a couple of months.  Since that is just a couple of years away, and we will still be paying for #4 & #5 sons' college, I think it will be delayed.  My husband spent several months in Egypt teaching the Multi-national Peacekeeping troops.  He has so much fun exploring while there. 

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Subject: [h-cost] RE: opening tombs and Medici Crypt program
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>From: Catherine Olanich Raymond <cathy@thyrsus.com>
>>It is bad enough that several countries now require digs be published
>>before another is started.
>Is that so bad?  At least it minimizes the type of situation Ms. Kenyon
>created--doing a dig and destroying a site without getting the valuable
>information out to the academic community.

Just poking my nose in here.  I believe the context of the sentance was that 
"it (the situation of non-publication) is so bad that..." not that it's bad 
that archaeologists are being forced to do this.

What follows may not be a popular opinion however, speaking as someone who 
truly sucks at writing up documentation (I love to research, I hate to write 
it out), people who dig and don't document their finds aren't archaeologists 
- they're looters.  I would prefer -publication- of their finds, but I 
realize that's not always possible.  At the very least, not keeping notes is 
incompetant and irresponsible.  To me, it's very cut and dried.  If someone 
goes out and intentially digs up a site to sell the materials, there is no 
question that they are looting.  If someone goes out and digs a site, 
claiming to be an archaeologist, they are simply looting it for their own 
knowledge, and I'm not sure that this isn't worse than looting for mere 
money.  Both are right up there a person going out and destroying a site 
looking to prove some sort of theory (e.g. Schleiman's Trench, and 
Zimbabwe).

But I digress :)  Looting is a topic that just sets me off (I'm still trying 
to find a way to convince people that we need to have the death penalty for 
looting of archaeological sites - for some reason it's jut not popular...)

Marc

_________________________________________________________________
Get ready for school! Find articles, homework help and more in the Back to 
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Would you happen to be thinking of
http://www.interment.net/Default.htm
It's an international cemetary transcription library.

Kathy

<snip>
> This documenting project has been a long and tedious
> one.  I don't think they could ever have enough
> volunteers.  Properties do get sold, gravesites do
> over-grow, and sadly, some graves collapse or the
> headstones weather beyond recognition.  
> 
> There is a website... I think gen-root, someone on
> list probably knows the URL, and you can find the
> societies that are trying to document these
> graveyards.  They are listed by state and country. <snip>

______________________________________________________________________ 
Post your free ad now! http://personals.yahoo.ca
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Marquesate wrote:

> Does anyone know where I could find a pattern for a male outfit that looks like
> the Page of Pentackles in the Tarot?

Specifically the Rider-waite deck.

That's basically a mid-length houppelande.  Usually has full sleeves of 
one sort or another, but all that fullness in the body, combined with a 
hat, and dagging, must be inspired by the houppelande.

Simplicity, usually pretty good in the costume department, doesn't have 
a credible houp variant on the website.  Hmm, nor does McCall's.

I've a website which talks about making your own pattern, and has lots 
of pictures, if you want to see what some of them can look like -- 
http://www.virtue.to/articles/circle_houp.html  There's articles about 
the hats, too.

You might need to look at the less mainstream pattern companies for a 
drawn-out pattern, though.

cv

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

We would not [monitor the election of] a country that had election laws 
like ours, where every precinct, every voting place can have a separate 
kind of voting mechanism, and where the interpretation of what is a good 
vote or a bad vote depends, almost exclusively, on local officials' 
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hello,
In light of our recent discussion :D
Althea

>
> Ancient hobbit-sized human species discovered
> Scientists working on a remote Indonesian island say they have  
> uncovered the bones of a human dwarf species marooned for eons while  
> modern man rapidly colonized the rest of the planet.
> http://g.msn.com/0MNBUS00/2?http://www.msnbc.msn.com/id/ 
> 6346939&&CM=EmailThis&CE=1
>  
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy
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Subject: Re: [h-cost] Hobbits Found
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  I saw this and thought it was just too cool - something new every day...<G>
Giant lizards and mini-elephants and hobbit-folk, all in one place.

Liadain

-----Original Message-----
From: Althea Turner <althea@alfalfapress.com>
Sent: Oct 28, 2004 11:41 AM
To: Costume Historical <h-costume@indra.com>
Subject: [h-cost] Hobbits Found

hello,
In light of our recent discussion :D
Althea

>
> Ancient hobbit-sized human species discovered
> Scientists working on a remote Indonesian island say they have  
> uncovered the bones of a human dwarf species marooned for eons while  
> modern man rapidly colonized the rest of the planet.
> http://g.msn.com/0MNBUS00/2?http://www.msnbc.msn.com/id/ 
> 6346939&&CM=EmailThis&CE=1
>  
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy
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Subject: Re: [h-cost] Crypts and Costume Research
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On Thu, 28 Oct 2004 13:20:17 -0400 "Penny Ladnier"
<penny@costumegallery.com> writes:
> Karen,
> 
> I interviewed one of our guest lecturers for an hour or so.  He was 
> a professor from I believe the Art Institute in Chicago.  

Probably the Oriental Institute of the University of Chicago. They have a
truly excelleent collection of Near East artifacts. The Art Institute is
more about Impressionism than archeology.......


 > I did get to see the touring exhibit that was at the VA Museum of 
> Fine Arts while taking my class.  Such a wonderful exhibit.  I 
> especially liked the mummy and the figurines of the field workers.  
> The pectoral necklace was stunning.  My first mummy to see was at 
> the Carnegie Museum at Pittsburgh.  They have a nice collection too. 
>  A friend bought me the original exhibit book from the King Tut U.S. 
> tour in the 1970s.  If you can find a used book of this it is 
> WONDERFUL. 

I saw the exhibit waaaaay back when in the 70's. I was in high school at
the time and more than a little bit of an archeology geek. It was a
really excellent exhibit. I wouldn't mind a walk down memory lane thru a
guide book.

By the way, the offer to play Friendly Native Guide to the graveyards of
Chicago still stands......


Karen
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Karen,

Oh Karen, I am green with envy!!!!!  You are one lucky girl.  The tour came to New Orleans when I was in college (the first decade).  My best friend went to see it.  The title of the book is Treasures of Tutankhamun ISBN: 0-345-25684-0-795 .  You might want to try Amazon's used books.  I have picked up some great deals on books there.

My nephew with the first groups of soldiers that went into Baghdad.  He said they found a loot of Egyptian artifacts in the basement of Sadam's palaces.  He showed me photos of some of the artifacts.  There was a death mask very similar to King Tutankhamen's.... Lots of gold and artifacts.  Museum specialists came into the site and together they packed the artifacts up and sent them back to Egypt.

I wish I knew you when we lived in Rantoul, Illinois in 1981.  My husband was stationed at their Air Force Base.  It looks like this might be a traveling year for me.  I have had an offer from a London PR firm  to go to Paris in Dec. to talk to the press.  Waiting around to see if it works out.

I would really love to come to Chicago to see the graves in the cemeteries that you showed me on that website.  I am still trying to figure out the title of that book that has children's graves with the sculpture of their bodies laying down and then it is covered with glass.  I saw it when I was in college in 1996.  I wish I had more storage space in my memory.  I did see the one statute of the little girl under glass on that website in Chicago.

I took a photo in an Anglican church in Liverpool of a laying Bishop's sculpture on top of his tomb.  WOW!  It reminded me of Egyptian artwork.  An eagle or falcon had it wings spread like it was embracing his head.  So moving! 

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Subject: [h-cost] More costume/theater notes 1661
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Another from the serialized Pepys diary: 
http://www.pepysdiary.com/archive/1661/10/28/index.php

"and they and I to the Theatre, and there saw Argalus and Parthenia, 
where a woman acted Parthenia, and came afterwards on the stage in mens 
clothes, and had the best legs that ever I saw, and I was very well 
pleased with it. Thence to the Ringo alehouse, and thither sent for a 
belt-maker, and bought of him a handsome belt for second mourning, which 
cost me 24s., and is very neat."

cv
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Subject: Re: [h-cost] Hobbits Found
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Status: RO

Althea,

I saw this on the news today too.  WOW! What a find.  I watched on PBS a show about the Pigmies (sp) last week.  It makes me wonder if this was the originals of their race.  Then I thought about all the people I know that are four foot something.  The report said the remains would have made the person about 4 ft. tall. 
  
Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Status: RO

Well, I'm 4'9" tall, and not considered in any way medically abnormal 
for a modern human female.

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com

Penny Ladnier wrote:

>Then I thought about all the people I know that are four foot something.  The report said the remains would have made the person about 4 ft. tall. 
>
>  
>
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Subject: Re: [h-cost] image of Jane Grey?
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Hi all

Thanks for your comments on this portrait. I will continue searching for 
more info on her this winter, and if I find anything definitive, I will 
make a post.

Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Subject: Re: [h-cost] Magazines for costumers?
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At 08:50 AM 10/28/2004 -0400, you wrote:
>Hi, o knowledgable ones,
>I am aware of the research-oriented, academic magazines for costume history.
>But, are there magazines for historical costumers of a more general -- and
>sewing-oriented -- nature? I know there's recently been a thread listing
>publications and organizations,  but I would appreciate your thumbnail
>descriptions of the magazines, not just their names. If this is boring,
>please feel free to reply off-list: lauren.walker@comcast.net.
>
>Thanks very much!
>Lauren


Hi Lauren,

There was a costume and fashion magazine, but only one issue apparently was 
released before it closed. Not sure why.

I use Threads and Sew News magazines for sewing tips. Not historical I 
know, but both magazines have really helped improve my general sewing 
skills. And sometimes they do techniques that are usable for historical 
garments.

And if there is a magazine out there that provides historical sewing tips, 
I would love to know about it myself.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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At 09:22 AM 10/21/2004 -0500, you wrote:
>If I remember right from Roy Strong's book "Tudor and Jacobean Portraiture"
>this portrait, though id'ed as Jane Grey, is either  in private ownership,
>lost or(gulp!)destroyed. It was also thought to be cut down from an original
>full-length portrait.


Thanks Cindy for your post about this book. I will be ILL it this winter 
and see what can be seen.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] image of Jane Grey?
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At 09:37 PM 10/22/2004 -0700, you wrote:
>   Look at:
>http://www.marileecody.com/gloriana/princesselizabethscrots.jpg
>
>  or if that doesn't work go to
>http://englishhistory.net/tudor/monarchs/eliz1.html
>and scroll down to the Scrots portrait of the young Elizabeth - if you can 
>get both images on the
>screen, they look like two versions of the same coloring book page.  Look 
>at the hands.  Someone
>has taken Elizabeth's book away, but not changed the attitude of her 
>fingers...
>
>Liadain


Hi Liadain,

Thanks for pointing this one to me. I have the Elizabeth image in books, 
and I see what you are saying. Jane's chemise sleeves and false undersleeve 
also have similar aspects to Bess'.

I am wondering if they were copies from contemporary students or something? 
Like the two images of Jane Seymour that are close to each other, yet not 
exact copies. I wasn't an art student, so all this is kinda new to me, but 
I've seen these images for many years looking at the garments, which is why 
something I can't name is saying this portrait is off somehow.

{shrugs}


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Subject: Re: [h-cost] help with British terms
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At 08:57 AM 10/27/2004 -0400, you wrote:
> > might the product "Sulky"fall into this category;
> > particularly the wash away variety
>
>Sulky is a brand name--they make several kinds of stabilizers, including wash
>away, tear away, and, I think, paint on.  But I haven't used any for a long
>time, so I can't vouch for how easy they are to remove.
>
>Ann Wass


I use the wash away and tear away a lot recently with the machine blackwork 
I have been doing (I know, not a "period" method, but it still looks good). 
The iron on tear away is nice to work with, as it stays in place where you 
iron it, and if needed, you can lift it up and iron it down again if you 
get the placement wrong. Removal is pretty easy, and it washes off over time.

The wash away stabilizer is annoying to work with. It comes off easily, but 
the plastic nature makes it creep and shift while sewing over it, even when 
pinned down. I think I am going to try a spray on temp glue and see if that 
will help it stay put, although the liquid nature of the glue might melt it 
anyway. Maybe a glue stick might be worth trying, but I haven't explored 
that part yet. There is also the paint on wash off stabilizer, which is the 
wash away plastic stuff in liquid form. Scraps of the wash away can be 
saved and water added to make the liquid stuff. The directions are with the 
stabilizer.

Also, using liquid starch can be a usable stabilizer, same for spray on 
starch but use several light coats, pressing between coats.

hth,


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] the Jane Grey pic
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At 09:05 AM 10/26/2004 -0400, you wrote:
>Ya'll are just going to laugh at me, I know it, but I will admit that when  I
>first saw this pic of Jane Grey that we are currently discussing, my
>immediate  thought was that it was not a period piece, but one from a 
>later time.  I
>still believe that, but since ya'll are sure it is authentic to the 
>period, I
>will concede that I made a snap judgement and happily embrace this lovely
>portrait for what it is.


Hi Kimberly,

I was the one who posted the image to the list. I won't laugh on this, as 
that was my gut feeling as well when I saw the image. It just seemed like 
someone found several portraits of the time, and created a montage to 
create this "Jane Grey" image. The face seemed too shaded, the pose like 
others, but different enough, the material like Eleanora's famous dress, 
yet different. The list goes on.

I have yet to find the real story on this image, although I do not have Roy 
Strong's Portraits book. I saw it on eBay, but was unwilling to pay $200 
for it. I hope to ILL it this winter, and hopefully learn more.

Hopefully, we will find out the story on it in time.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Magazines for costumers?
Date: Thu, 28 Oct 2004 22:57:11 -0400
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There's Piecework.  Piecework actually concentrates on historic needlework 
techniques, but their mainstay is articles containing projects that will give 
you an opportunity to do/learn the techniques for yourself.  The projects 
usually involve decorative techniques, seldom projects that would involve 
making an entire garment.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: Re: [h-cost] Hobbits Found
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On Thursday 28 October 2004 8:15 pm, Lavolta Press wrote:
> Well, I'm 4'9" tall, and not considered in any way medically abnormal
> for a modern human female.
>
> Fran
> Lavolta Press Books on Historic Costuming
> http://www.lavoltapress.com
>
> Penny Ladnier wrote:
> >Then I thought about all the people I know that are four foot something. 
> > The report said the remains would have made the person about 4 ft. tall.

The article on this I read from the International Herald Tribune said these 
people would have stood "a little over a meter tall."  A meter is 
approximately 39 inches, so these folk would have been considerably less than 
4 feet tall.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: opening tombs and Medici Crypt program
Date: Thu, 28 Oct 2004 23:10:39 -0400
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On Thursday 28 October 2004 1:49 pm, Marc Carlson wrote:
> >From: Catherine Olanich Raymond <cathy@thyrsus.com>
> >
> >>It is bad enough that several countries now require digs be published
> >>before another is started.
> >
> >Is that so bad?  At least it minimizes the type of situation Ms. Kenyon
> >created--doing a dig and destroying a site without getting the valuable
> >information out to the academic community.

> Just poking my nose in here.  I believe the context of the sentance was
> that "it (the situation of non-publication) is so bad that..." not that
> it's bad that archaeologists are being forced to do this.

I thought (and the original writer may correct me if I'm wrong) that what was 
being decried in the sentence beginning "It is bad enough" was that, because 
of conduct like Ms. Kenyon's, governments were refusing to permit new digs 
until results/information on current ones had been published.  My comment was 
meant to say, "it's not bad for a government to require existing digs to be 
published before permitting a new dig."


> What follows may not be a popular opinion however, speaking as someone who
> truly sucks at writing up documentation (I love to research, I hate to
> write it out), people who dig and don't document their finds aren't
> archaeologists - they're looters.  I would prefer -publication- of their
> finds, but I realize that's not always possible.  At the very least, not
> keeping notes is incompetant and irresponsible.  

Opening a site and failing to document and keep notes is irresponsible and 
deplorable, and I agreed with the original poster about that.  However, I 
think it falls short of looting, where the person not only destroys a site, 
but attempts to profit directly from the destruction.

> To me, it's very cut and 
> dried.  If someone goes out and intentially digs up a site to sell the
> materials, there is no question that they are looting. 

Agreed.  But going out to a dig and failing to keep notes isn't equivalent to 
"selling the materials."  

> If someone goes out 
> and digs a site, claiming to be an archaeologist, they are simply looting
> it for their own knowledge, and I'm not sure that this isn't worse than
> looting for mere money.  Both are right up there a person going out and
> destroying a site looking to prove some sort of theory (e.g. Schleiman's
> Trench, and Zimbabwe).

One can argue that it's a different kind of greed but still greed.  I think 
it's wrong but still  a different wrong than looting.

> But I digress :)  Looting is a topic that just sets me off (I'm still
> trying to find a way to convince people that we need to have the death
> penalty for looting of archaeological sites - for some reason it's jut not
> popular...)

Since this is not a political list, I will quietly sign off now.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Hobbits Found
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Haven't seen the article, was quoting from Penny.

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


>The article on this I read from the International Herald Tribune said these 
>people would have stood "a little over a meter tall."  A meter is 
>approximately 39 inches, so these folk would have been considerably less than 
>4 feet tall.
>
>  
>
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The small-town graveyard where several of my relatives are buried (SE 
Nebraska) has some stones that are very weathered and just barely 
readable.  The oldest we found this Memorial Day was from about 1850 or 
so.  It has two rather unique ones though....
One is a family plot, under a rather old evergreen tree - the family stone 
looks just like a tree trunk, about 5 feet tall, with stumps where the 
branches were cut off.  The individual stones are shaped like the cut 
branches, about 18" long, laying flat on the ground around the "tree".  I 
think it dates from around 1910 - 1920.  The other one is, in the midst of 
many veteran's markers, from WW I, WW II, and the Union army of the ACW, is 
---one--- Confederate ACW veteran's marker.  And yes, someone puts a small 
Confederate flag on it every year.

We try to pick a few of the most overgrown stones each year and at least 
clear the grass, mud, etc. off them, so they look a little better.

Sandy

>From: "Penny Ladnier" <penny@costumegallery.com>
>Subject: Re: [h-cost] Re: opening tombs
>
>I photograph a lot of artwork in graveyards and you would be surprised how 
>many tombstones have faded inscriptions, broken stones, collapsed graves, etc.
>Penny E. Ladnier

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

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

Andromeda  


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First I want to apologize for not having the Online Costume Ball again this year .  I know how much the list members enjoy our annual Online Costume Ball.  Guilt is getting to me for not having the Costume Balls in 2003 & 2004.  For two years in a row hurricanes has slowed us down from having the Balls.  Since the predictions are for more hurricanes in the next few years, I have decided to move the time of the Ball to late Jan-Feb during Carnival / Mardi Gras season.

To ease my guilty feelings, and to celebrate costumers' favorite season Halloween, I have decided to have a weekend of FREE access to the subscription area of my Library to members of specific email lists who have patronized our Online Costume Balls over the years.  The free access period will be from today until midnight Oct. 31.  Monday morning the passwords will be changed and the free access period will end. This *limited  time* access is really important because I don't want my website bandwidth to go sky high and find out that I am bankrupt Monday morning.  We are ONLY inviting four email lists, each with about 500 members. So please do NOT give out the passwords to your friends.  The invited email lists members are: h-costume@indra.com , 19cWomen@yahoogroups.com , the USITT costume designers costumeinfo@yahoogroups.com , and our costumegallery@yahoogroups.com .

DIRECTIONS TO THE LIBRARY:

Go to http://www.costumegallery.com/research.htm  and click on the subscriber login button.  A gray popup box will appear.  You need to enter the login and password exactly like I say or you will receive an error message.  You need to make sure your login and password have NO extra spaces before or after the password or login.  Computers read spaces as a character. Also do not use capital letters!  Put your cursor in the login area.  Then backspace to the far left.  This will ensure there are no blank spaces.  Then enter the following:

Library's passwords

Login: cg2003
Password: 575978
Make sure to click on the box to save the passwords.

I will be at the Virginia Theater Association convention in Washington DC Fri. through Saturday. #5 son is performing.  Susan Bosarge, my #1 asst., is on this email list.  If you need help with the passwords, please ask her through this list.  If you are having a password problem maybe someone else is too.  Please don't write Susan personally and bog down her email account.  Others on the list may help you too.  Some of our interns are on these email lists.  

Today there are 2,375 webpages and countless images in our Library.  The subscription area covers fashions from 1804 to 1923.   There are period fashion magazines, catalogs, and books.  You can view the Library by individual catalog, book, by a particular year, or by topic.  When on the main Library page, scroll down to bookshelves.  Then click on the book image you are interested in.

If you want to see the latest additions to the Library, go to http://www.costumegallery.com/updates.htm .  You can see the updates to the Library from July through October. Next month we are expanding our series A Year in Fashion from 1923-1932 and eventually 1950.

Please remember to not share the passwords with your friends.  My normal bandwidth for the website is 60-85 gigs a month.  If I go way over that, I have to pay big $$$.  Think of this weekend like a private costume party.  

I hope this makes it up to you for not having a timely online costume ball for these two years.  Lastly...  Remember that Sunday, the party ends at midnight Halloween, East Coast, U.S. time.  If you push us about the time, I will turn you into a toad!
      
Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Hmm... Cathy, the news today said 4 ft.  I would love to read the article in the magazine that it is being published.  National Geographic has been there filming, but the article is not be published by them first.  I believe it was some sort of trade magazine.

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
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Subject: Re: [h-cost] Hobbits Found
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Fran,

Is there a link to the article?

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
  ----- Original Message ----- 
  From: Lavolta Press 
  To: Historical Costume 
  Sent: Thursday, October 28, 2004 11:13 PM
  Subject: Re: [h-cost] Hobbits Found


  Haven't seen the article, was quoting from Penny.

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


  >The article on this I read from the International Herald Tribune said these 
  >people would have stood "a little over a meter tall."  A meter is 
  >approximately 39 inches, so these folk would have been considerably less than 
  >4 feet tall.
  >
  >  
  >
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Subject: Re: [h-cost] OT Re: Tombs, graves, etc.
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----- Original Message ----- 
From: "Pierre & Sandy Pettinger" <costumrs@radiks.net>
> One is a family plot, under a rather old evergreen tree - the family stone
> looks just like a tree trunk, about 5 feet tall, with stumps where the
> branches were cut off.  The individual stones are shaped like the cut
> branches, about 18" long, laying flat on the ground around the "tree".  I
> think it dates from around 1910 - 1920.  The other one is, in the midst of
> many veteran's markers, from WW I, WW II, and the Union army of the ACW,
is
> ---one--- Confederate ACW veteran's marker.  And yes, someone puts a small
> Confederate flag on it every year.

Ah! The graveyard that I lived right beside for 7 years (preacher's kid,
etc) had a tree stump gravestone that sounds identical! Though it didn't
have the individual stone branches. It dated to 1920, and it was my favorite
grave. (Hey, I was a kid, and the graveyard was practically my back yard.)

Friendship Cemetary, near my magnet school in Columbus, MS, has an extremely
interesting grave in it, from a historian's point of view: 'Nurse Canant,'
the only woman to have been buried in a Confederate military grave. She died
at Shiloh, if I remember correctly, and was listed in the cemetary records
as being female, so it wasn't a male nurse. For my history class, I was
assigned to research her story, and couldn't find out anything beyond
that... the mystery has bugged me ever since! There must be some reason she
was accorded that singular honor, and I wanna KNOW it!

-E House


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Subject: Re: [h-cost] Hobbits Found
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I haven't read it, I just heard about it from my husband.  They'd  
probably have to measure a number of individuals of both genders to get 
a range.

Fran

Penny Ladnier wrote:

>Fran,
>
>Is there a link to the article?
>
>Penny E. Ladnier
>Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
>www.costumegallery.com
>www.costumegallery.com/research.htm  
>www.costumeclassroom.com 
>  ----- Original Message ----- 
>  From: Lavolta Press 
>  To: Historical Costume 
>  Sent: Thursday, October 28, 2004 11:13 PM
>  Subject: Re: [h-cost] Hobbits Found
>
>
>  Haven't seen the article, was quoting from Penny.
>
>  Fran
>  Lavolta Press
>  http://www.lavoltapress.com
>
>
>  >The article on this I read from the International Herald Tribune said these 
>  >people would have stood "a little over a meter tall."  A meter is 
>  >approximately 39 inches, so these folk would have been considerably less than 
>  >4 feet tall.
>  >
>  >  
>  >
>  _______________________________________________
>  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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>
>
>  
>
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From: "Beth Chamberlain" <Bchamber@suffolk.lib.ny.us>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Hobbits Found
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<Is there a link to the article?>
<Penny E. Ladnier>


The complete articles are in today's Nature. The full content of Nature is
online but partially by subscription only. They are being nice with this one
- it looks like most of it is free. I haven't had a chance to read it yet. 
http://www.nature.com/news/specials/flores/index.html

Beth Chamberlain

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Subject: [h-cost] Archeology and publication
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You are interpreting my comments correctly Marc.  As the original writer, (poor writing evidently) what I meant to say was that there have been to many instances of professional archeologists and teams excavating a site and then never publishing their notes and findings.  Their field notes remained in the same state as the day they left off digging, or not much better.  Then they went on to continue the dig the next year, or began to dig somewhere else.  Because of this, governments such as Israel and Egypt have found it necessary to require that write-ups be done in X amount of time (two years is what I remember) or the archeologist in charge will be banned from that or other sites.  

The human historical record is being destroyed, since that is what digging does.  If the excavation isn't published and knowledge shared it would have been better never to have been dug at all.  As the guardians of the property where this knowledge exists, governments have a duty to their populace and the people of the world to insist that the knowledge gained by the destruction be disseminated.  Otherwise, it doesn't matter if the pot is carefully sent to the British Museum, or sold to Lord Snuffy Smith.  If there is no provenance, it is (usually) just a curiosity. There are some things that have been looted that can be of value to the record, but they are much more valuable if they come with something like:  found is strata X at X depth, photos and drawings at...

As Marc says, it is frequently far more interesting to do the research than to write it up.  Archeologists are often only funded for the dig, not the months of work it takes to analyze and write up their findings.  Then they get to find someplace to publish those findings.  I've heard one archeologist who worked on Crete say that she had to pay for the publication herself.  Some digs are actually doing their publication on-line which only costs the time to type it in, and meets the requirements of some countries.

Some sites are leaving areas undisturbed because they are aware that new techniques are coming that may extract far more information than we currently have the technology to acquire.

Looter or archeologist.  When the site has been fully excavated, if there are no records, or those records are incomplete, the site is lost to us.  It seems to me that the archeologist has a duty to see that this doesn't happen.  

Regina





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Subject: Re: [h-cost] Hobbits Found
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On Thursday 28 October 2004 11:39 pm, Penny Ladnier wrote:
> Hmm... Cathy, the news today said 4 ft.  I would love to read the article
> in the magazine that it is being published.  National Geographic has been
> there filming, but the article is not be published by them first.  I
> believe it was some sort of trade magazine.

I don't have the Science article being referred to; the account I read first 
was on the International Herald Tribune's web site.  

http://www.iht.com/articles/2004/10/27/news/tiny.html



-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: Re: [h-cost] Hobbits Found
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Fran,

Did they find more than one body?

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
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Sandy,

This sounds like the Woodman's of the World  gravemarkers.  All I know is that it was an organization.  This headstone style was very popular in the late Victorian period.   At Hollywood Cemetery in Richmond, VA there is  a whole family plot like what you described.  I think I have photographed it.  For anyone who has been there, family plot is near the Presidents graves.  If I can find my brochure from there it talks about these markers.

I have been photographing artwork in graveyard to show the styles of costumes on the statutes.  I call my series, Costume Heaven.  I have only had enough time to put one webpage up with some images, http://www.costumegallery.com/cemetery/ladies1.htm  I have hundreds of photos to add.  

The lady on the second row, right side, freaked me out a few years ago.  The sun was setting and from a distance with the right lighting, she looks like a real person.  I was feeling so sad for her.  That day, I didn't drive down near the grave because I didn't want to disturb her.  A year later I went back to photograph more in the cemetery, and discovered she was a statute.  She is life size and her body and costume are so detailed. So dramatic!  Since I have found this statute in other graveyard but not life-sized.

Another favorite of mine is the lady on the first row, first lady.  I have photographed her on several different days and seasons.  She is at Jefferson Davis' gravesite.  She can look really spooky in the winter time, and very loving in the summer.  I would like to photograph her in the winter on a rainy day.  Just seems like it would be a cool setup for a photo. 
 
Penny E. Ladnier
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As usual, the BBC has the latest on their SciTech web page:
http://news.bbc.co.uk/1/hi/sci/tech/default.stm

Go take a look.

And no, the African Pygmies are IN NO WAY descended from this new
discovery. They are homo sapiens sapiens, same as the rest of us.

Kim

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I don't know, would probably be best to read the Nature article.

Fran

Penny Ladnier wrote:

>Fran,
>
>Did they find more than one body?
>
>Penny E. Ladnier
>Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
>www.costumegallery.com
>www.costumegallery.com/research.htm  
>www.costumeclassroom.com 
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Subject: Re: [h-cost] Archeology and publication
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On Friday 29 October 2004 12:11 am, Wanda Pease wrote:
[snip]
> Looter or archeologist.  When the site has been fully excavated, if there
> are no records, or those records are incomplete, the site is lost to us. 
> It seems to me that the archeologist has a duty to see that this doesn't
> happen.

Amen to that.
-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Hobbits, Hobbits, Hobbits. Pygmies were invented before Tolkien. Sheesh!

-C.

> > Ancient hobbit-sized human species discovered



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Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 864
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The original article on the discovery of the "hobbits" is published in this
months edition of the academic journal, Nature.

----- Original Message ----- 
From: <h-costume-request@indra.com>
To: <h-costume@net.indra.com>
Sent: Friday, October 29, 2004 12:09 AM
Subject: h-costume Digest, Vol 3, Issue 864


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


> Today's Topics:
>
>    1. Re: Hobbits Found (Catherine Olanich Raymond)
>    2. Re: RE: opening tombs and Medici Crypt program
>       (Catherine Olanich Raymond)
>    3. Re: Hobbits Found (Lavolta Press)
>    4. Re: Tombs, graves, etc. (Pierre & Sandy Pettinger)
>    5. A sneak peek (Penny Ladnier)
>    6. Re: Hobbits Found (Penny Ladnier)
>    7. Re: Hobbits Found (Penny Ladnier)
>    8. Re: OT Re: Tombs, graves, etc. (E House)
>    9. Re: Hobbits Found (Lavolta Press)
>   10. RE: Hobbits Found (Beth Chamberlain)
>   11. Archeology and publication (Wanda Pease)
>   12. Re: Hobbits Found (Catherine Olanich Raymond)
>


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


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The original article on the discovery of the "hobbits" is published in this
months edition of the academic journal, Nature.
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From h-costume-bounces@indra.com  Fri Oct 29 07:33:26 2004
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <20041028.074217.3744.0.Cley@juno.com>
Subject: Re: [h-cost] Faux fur trim
Date: Fri, 29 Oct 2004 07:32:43 -0400
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One thing I have learned through the years is to throw the piece in the
dryer NO Heat! It will gather up the loose stuff very nicely. I do the same
with the cut pieces before I pin them together.
Works for me, when you don't need the high quality stuff.
Kathleen
----- Original Message ----- 
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Sent: Thursday, October 28, 2004 10:38 AM
Subject: Re: [h-cost] Faux fur trim


> Call me old fashioned, but...
>
> I really shy away from buying fake fur online. Mainly because fake fur
> can be badly done--bad fur sheds like crazy if you brush it; good fur
> won't.
>
> Good luck!
>
> Arlys
>
> On Wed, 27 Oct 2004 20:50:03 EDT IceGirlNIN@aol.com writes:
> >
> > In a message dated 10/27/2004 8:40:57 PM Eastern Daylight Time,
> > fran@lavoltapress.com writes:
> >
> > Does  anyone know who sells good faux fur trim online?  The kind
> > with
> > finished selvages, that is you don't have to cut it out of faux fur
> >
> > garment fabric?  Maybe 2-3 inches wide?
> >
> > I have nothing against  real fur, but this stuff is easier to handle
> > for
> > what I want (which is to  put it on the edges of a suede poncho).
> >
> >
> >
> >
> >
> (_http://www.mjtrim.com/catalog/product.aspx?product=32006&variant=----01
> -ALL_
> >
> >
> (http://www.mjtrim.com/catalog/product.aspx?product=32006&variant=----01-
> ALL)
> > )
> > Well, this stuff has only a 1" wide selvage, but the fur  itself is
> > 1.5"
> > wide.  Comes in black, brown, and white (the white is rather
> > temptingly pretty
> > for ermine-trim..).  Mind the wrap if there is  any.
> >
> > Christine
> > _______________________________________________
> > 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 Oct 29 07:45:08 2004
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <5.2.1.1.0.20041028164812.02a306b8@64.87.54.245>
Subject: Re: [h-cost] Magazines for costumers?
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And you might want to add "Piecework" to that list.  They have an amazing
list of found pieces that connect needle-wise to so many periods and craft
that gets talked about on this list.
Kathleen
----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 28, 2004 7:50 PM
Subject: Re: [h-cost] Magazines for costumers?


> At 08:50 AM 10/28/2004 -0400, you wrote:
> >Hi, o knowledgable ones,
> >I am aware of the research-oriented, academic magazines for costume
history.
> >But, are there magazines for historical costumers of a more general -- 
and
> >sewing-oriented -- nature? I know there's recently been a thread listing
> >publications and organizations,  but I would appreciate your thumbnail
> >descriptions of the magazines, not just their names. If this is boring,
> >please feel free to reply off-list: lauren.walker@comcast.net.
> >
> >Thanks very much!
> >Lauren
>
>
> Hi Lauren,
>
> There was a costume and fashion magazine, but only one issue apparently
was
> released before it closed. Not sure why.
>
> I use Threads and Sew News magazines for sewing tips. Not historical I
> know, but both magazines have really helped improve my general sewing
> skills. And sometimes they do techniques that are usable for historical
> garments.
>
> And if there is a magazine out there that provides historical sewing tips,
> I would love to know about it myself.
>
>
> Kimiko Small
> Owner ~ DreamTime Studios
> http://www.dreamtime-studios.com
> Fresno, CA, USA
>
> "When there is fear, there is no creativity" ~ C. Lowell
>
> _______________________________________________
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From h-costume-bounces@indra.com  Fri Oct 29 08:03:53 2004
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT Re: Tombs, graves, etc.
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> Friendship Cemetary, near my magnet school in Columbus, MS, has an extremely
> interesting grave in it, from a historian's point of view: 'Nurse Canant,'
> the only woman to have been buried in a Confederate military grave. She died
> at Shiloh, if I remember correctly, and was listed in the cemetary records
> as being female, so it wasn't a male nurse. For my history class, I was
> assigned to research her story, and couldn't find out anything beyond
> that... the mystery has bugged me ever since! There must be some reason she
> was accorded that singular honor, and I wanna KNOW it!
> 
> -E House

I thought I might have an answer, but the female nurse that I know of
who died at Shiloh was Mrs. Anna McMahon, a Northern woman, and she was
buried on the site.  Here's a link to my paper on the civilians in
Hardin County (Shiloh) leading up to and through the battle:
http://www.uttyl.edu/vbetts/shiloh.htm
I didn't find Nurse Canant specifically, but Confederate nurses will
probably be more difficult to identify.  She was probably a local
resident somewhere between Corinth and Pittsburg Landing, as I would
imagine anyone dying while working at the hospitals in Corinth would
have been buried there.  Is there a chance that she was a nurse in the
aftermath of Shiloh, and died some time later?  This is very intriguing.

To keep this on costume topic, has anyone else noticed the clothing on
monuments to Civil War women?  It's interesting to see how close they
get to historical accuracy for the 1860's, versus the aesthetic ideals
for the time period in which they were erected, often by veterans'
children or grandchildren.  Or how often they are 1860s versus Greek
mythic.

Vicki Betts
vbetts@gower.net

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From h-costume-bounces@indra.com  Fri Oct 29 09:58:27 2004
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Subject: [h-cost] need millinery supplies
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I usually sew an earlier time period, but now I find that I need to 
come up with a "Victorian" caroling outfit in pretty quick order.  
Nothing fancy, just nice enough to earn $$ over the holiday season.  
I'm in need of a basic straw hat base--I can handle all the decorating 
myself.  Can anyone recommend a fast, on-line supplier?

Grace/Jessamyn 

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From h-costume-bounces@indra.com  Fri Oct 29 11:55:11 2004
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> The article on this I read from the International Herald Tribune said
these
> people would have stood "a little over a meter tall."  A meter is
> approximately 39 inches, so these folk would have been considerably less
than
> 4 feet tall.

But that's still hobbit-sized, since they're supposedly between 3 and 4 feet
tall (except the two mutants, Meriadoc and Peregrin :-)
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Subject: Re: [h-cost] Hobbits Found
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> Well, I'm 4'9" tall, and not considered in any way medically abnormal
> for a modern human female.
>
> Fran

No, but statistically, you're below average. What they found seems like the
whole race fit within the 3-4 feet standard. That's a major difference with
the average present-day human average height. Of course, they don't have
enough bodies of those "hobbits" to be considered a valid sample, and you
have to assume that they dug up close to average individuals...
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Date: Fri, 29 Oct 2004 09:13:31 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] image of Jane Grey?
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Status: RO

The gown fabric in the "Jane Grey" picture ( 
http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg ) 
resembles the picture of Mary I by Hans Eworth (Portrait 23 in Roy Strong's 
"The English Icon").  The pattern of the gown fabric is very similar, 
though Mary is wearing a partlet of the same fabric, so you don't see the 
low neckline.  The pose is pretty much a standard one; in fact, there is 
another portrait of Mary with the same pose by "Master John" (Portrait 12, 
English Icon) dated 1544.

Joan Jurancich
joanmj@surewest.net

At 06:17 PM 10/28/2004 -0700, you wrote:
>At 09:37 PM 10/22/2004 -0700, you wrote:
>>   Look at:
>>http://www.marileecody.com/gloriana/princesselizabethscrots.jpg
>>
>>  or if that doesn't work go to
>>http://englishhistory.net/tudor/monarchs/eliz1.html
>>and scroll down to the Scrots portrait of the young Elizabeth - if you 
>>can get both images on the
>>screen, they look like two versions of the same coloring book page.  Look 
>>at the hands.  Someone
>>has taken Elizabeth's book away, but not changed the attitude of her 
>>fingers...
>>
>>Liadain
>
>
>Hi Liadain,
>
>Thanks for pointing this one to me. I have the Elizabeth image in books, 
>and I see what you are saying. Jane's chemise sleeves and false 
>undersleeve also have similar aspects to Bess'.
>
>I am wondering if they were copies from contemporary students or 
>something? Like the two images of Jane Seymour that are close to each 
>other, yet not exact copies. I wasn't an art student, so all this is kinda 
>new to me, but I've seen these images for many years looking at the 
>garments, which is why something I can't name is saying this portrait is 
>off somehow.
>
>{shrugs}
>
>
>Kimiko Small
>Owner ~ DreamTime Studios
>http://www.dreamtime-studios.com
>Fresno, CA, USA
>
>"When there is fear, there is no creativity" ~ C. Lowell
>
>_______________________________________________
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Subject: RE: [h-cost] need millinery supplies
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Hi Grace~

Not sure if this is what you are looking for, but its straw, and it's cheap! As to fast, I really
don't know, I've not used this supplier.
http://www.hatsupply.com/costume_hats.htm
Scroll all the way to the bottom.

HTH-
::Linda::

-----Original Message-----
 On Behalf Of Grace Morris
[h-cost] need millinery supplies

I usually sew an earlier time period, but now I find that I need to 
come up with a "Victorian" caroling outfit in pretty quick order.  
Nothing fancy, just nice enough to earn $$ over the holiday season.  
I'm in need of a basic straw hat base--I can handle all the decorating 
myself.  Can anyone recommend a fast, on-line supplier?

Grace/Jessamyn 


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Status: RO

Yes, I finally read a couple of the articles.

I'm not as below average as the fashion industry would have people think.

I've always wondered what an anthropologist would conclude if they dug 
me up next to, say, my husband's 7-foot cousin.

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

>No, but statistically, you're below average. What they found seems like the
>whole race fit within the 3-4 feet standard. That's a major difference with
>the average present-day human average height. Of course, they don't have
>enough bodies of those "hobbits" to be considered a valid sample, and you
>have to assume that they dug up close to average individuals...
>
>  
>
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 29, 2004 12:51 PM
Subject: Re: [h-cost] Hobbits Found


> Yes, I finally read a couple of the articles.
>
> I'm not as below average as the fashion industry would have people think.

Yes, the fashion industry assumes that all women are 5'7" tall, with long 
legs.

Well, I'm 5'0", with stubby legs, and I'd croak if I ever found a pair of 
pants that FIT. I just bought a pair of jeans that are marked petite, and 
they are inches too long. grrrr

Dianne


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I am lining  a few 1560 garments (a gown and a doublet) I am using chocolate wool flannel and would like to line them with linen. Should I dye the linen chocolate or is it appropriate to leave it white. These are merchant garments and will not be very "fancy" (i.e encrusted with gold embroidery or paired with velvet)

Thank you thank you, Angelique

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Subject: [h-cost] Funny video!
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     This is too funny - it's a take off on a music video.  While it's not
historic costume, I thought people would be amused.

http://www.ruben.fm/format.html

     -Carol
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Subject: Re: [h-cost] Hobbits Found
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Fran said,
> I'm not as below average as the fashion industry would have people think.

     This brings up another question - what percentage of the population
is considered "average"?  most data will fall into a bell curve, so
how is above and below average calculated?

     And, of course, "average" is a smaller group than "normal".

     -Carol
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Subject: Re: [h-cost] linen wool for tudor clothing
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I don't know this earlier period as well, but 18th and early 19th century 
garments generally have undyed linen linings--perhaps partly because linen is 
rather difficult to dye, and why bother for something that isn't going to show?

Ann Wass
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I've gotten inured to the standard skirt and pants-hemming jobs.

I've developed  a craze for modern ponchos, and I'm buying them NOW.  
Nobody makes them in petites, but the short ones look perfect.  Whether 
it's the colder season or just style, manufacturers are lengthening 
them.  They are rapidly getting to look too long proportionally even 
though a range of lengths is acceptable.

The other thing I'm finding perfect is the short fur stoles from the 
60s?; the ones that are about a foot deep and wrap around the shoulders.

Fran
Lavolta Press Books on Historic Costuming
Two new books of patterns 1877-1882!
http://www.lavoltapress.com


>
> Well, I'm 5'0", with stubby legs, and I'd croak if I ever found a pair 
> of pants that FIT. I just bought a pair of jeans that are marked 
> petite, and they are inches too long. grrrr
>
>
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Date: Fri, 29 Oct 2004 10:39:07 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] linen wool for tudor clothing
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At 10:11 AM 10/29/2004 -0700, you wrote:

>I am lining  a few 1560 garments (a gown and a doublet) I am using 
>chocolate wool flannel and would like to line them with linen. Should I 
>dye the linen chocolate or is it appropriate to leave it white. These are 
>merchant garments and will not be very "fancy" (i.e encrusted with gold 
>embroidery or paired with velvet)
>
>Thank you thank you, Angelique

Unless the linings will show, I would not bother to dye them.  In any case, 
I'd worry about the dye transferring to my white linen undergarments.

Joan Jurancich
joanmj@surewest.net

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Date: Fri, 29 Oct 2004 10:40:14 -0700
To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] Hobbits Found
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I'm 5'11 and have just the opposite problem <smile>. I think the only 
answer for us that don't fit the industry stereotype is to sew our own clothes.

BTW, I'm curious about the difference between the 'Hobbit's and ordinary 
African Pygmies. It seems to me to be a tempest in an academic teapot ...

As always, my opinion,

Katie


>Yes, the fashion industry assumes that all women are 5'7" tall, with long 
>legs.
>Well, I'm 5'0", with stubby legs, and I'd croak if I ever found a pair of 
>pants that FIT. I just bought a pair of jeans that are marked petite, and 
>they are inches too long. grrrr
>Dianne


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Subject: Re: [h-cost] Hobbits Found
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 29, 2004 1:29 PM
Subject: Re: [h-cost] Hobbits Found


> I've gotten inured to the standard skirt and pants-hemming jobs.

I actually started sewing so I could make my own clothes. Unfortunately, I 
can't remember the last time I made something that was worn after about 
1575...
>
> I've developed  a craze for modern ponchos, and I'm buying them NOW. 
> Nobody makes them in petites, but the short ones look perfect.  Whether 
> it's the colder season or just style, manufacturers are lengthening them. 
> They are rapidly getting to look too long proportionally even though a 
> range of lengths is acceptable.

Actually, my favorite poncho ever came down to about my knees, with six inch 
deep fringe below that, and a huge deep cowl neck, which I usually hate. 
That was a three season garment for me!

Dianne


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Subject: Re: [h-cost] Hobbits Found
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Here's a recent article from CNN.com, for whatever it's worth:

http://www.cnn.com/2004/HEALTH/10/27/taller.heavier.ap/

And here's a lightweight encyclopedia article:

http://encyclopedia.thefreedictionary.com/Average%20height

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

aquazoo@patriot.net wrote:

>Fran said,
>  
>
>>I'm not as below average as the fashion industry would have people think.
>>    
>>
>
>     This brings up another question - what percentage of the population
>is considered "average"?  most data will fall into a bell curve, so
>how is above and below average calculated?
>
>     And, of course, "average" is a smaller group than "normal".
>
>     -Carol
>_______________________________________________
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>
>
>  
>
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Date: Fri, 29 Oct 2004 11:31:15 -0700
Subject: Re: [h-cost] Ponchos, was Hobbits Found
From: Lynn Downward <ldownward@chori.org>
To: h costume <h-costume@indra.com>
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My only poncho (circa 1968-69) was a Mexican woven poncho with white fringe
which I wore as a skirt. The sides went down to my knees and the front was
mid-shin. I thought I looked pretty cool with that, my black turtleneck
sweater and a pair of black boots.

LynnD

> From: Dianne & Greg Stucki <goofy1@suscom.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Fri, 29 Oct 2004 14:07:47 -0400
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] Hobbits Found
> 
> 
> ----- Original Message -----
> From: "Lavolta Press" <fran@lavoltapress.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, October 29, 2004 1:29 PM
> Subject: Re: [h-cost] Hobbits Found
> 
> 
>> I've gotten inured to the standard skirt and pants-hemming jobs.
> 
> I actually started sewing so I could make my own clothes. Unfortunately, I
> can't remember the last time I made something that was worn after about
> 1575...
>> 
>> I've developed  a craze for modern ponchos, and I'm buying them NOW.
>> Nobody makes them in petites, but the short ones look perfect.  Whether
>> it's the colder season or just style, manufacturers are lengthening them.
>> They are rapidly getting to look too long proportionally even though a
>> range of lengths is acceptable.
> 
> Actually, my favorite poncho ever came down to about my knees, with six inch
> deep fringe below that, and a huge deep cowl neck, which I usually hate.
> That was a three season garment for me!
> 
> Dianne
> 
> 
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Date: Fri, 29 Oct 2004 14:53:32 -0400 (EDT)
Subject: Re: [h-cost] Hobbits Found
From: aquazoo@patriot.net
To: "Historical Costume" <h-costume@indra.com>
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Status: RO

Hi Fran,

     I was thinking more of statistics - on a bell curve there's a certain
percentage that's average, then highs and lows, and the extremes on
the ends.  I thought there were five groupings in all.

     -Carol


> Here's a recent article from CNN.com, for whatever it's worth:
>
> http://www.cnn.com/2004/HEALTH/10/27/taller.heavier.ap/
>
> And here's a lightweight encyclopedia article:
>
> http://encyclopedia.thefreedictionary.com/Average%20height
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> aquazoo@patriot.net wrote:
>
>>Fran said,
>>
>>
>>>I'm not as below average as the fashion industry would have people
>>> think.
>>>
>>>
>>
>>     This brings up another question - what percentage of the population
>>is considered "average"?  most data will fall into a bell curve, so
>>how is above and below average calculated?
>>
>>     And, of course, "average" is a smaller group than "normal".
>>
>>     -Carol

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Subject: Re: [h-cost] Hobbits Found
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Status: RO

Of course there's a height bell curve, and of course everyone is not in 
the middle of it. But I'm not at all sure what your question is.  Or why 
you're asking me, as opposed to looking up the data as given by people 
who actually did the studies.  Those articles are what I found at the 
top of a quick Google search. There are many others on the net. 

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


aquazoo@patriot.net wrote:

>Hi Fran,
>
>     I was thinking more of statistics - on a bell curve there's a certain
>percentage that's average, then highs and lows, and the extremes on
>the ends.  I thought there were five groupings in all.
>
>     -Carol
>  
>
>  
>
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From h-costume-bounces@indra.com  Fri Oct 29 16:15:40 2004
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Subject: [h-cost] Vintage Clothing by Maryanne Dolan 
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I'm interested in picking up a 2nd hand copy of this book, and I see 
that it has come out in three editions over the years. Can anyone here 
tell me if there is much variation among the editions (different photos, 
information) or if they are pretty much just reprints of one another? If 
I only wanted the book for photos of vintage clothing and not current 
pricing, would a 2nd edition (1987?) be as just useful as the new edition?


Dawn

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Subject: [h-cost] RE: Hobbits Found
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>From: Katie Pleasance <Katie@katiesorchids.com>
>BTW, I'm curious about the difference between the 'Hobbit's and ordinary
>African Pygmies. It seems to me to be a tempest in an academic teapot ...

Homo Floresiensis (I refuse to refer to them as "Hobbits") are being 
reported as being derived from a population of Homo Erectus that over time 
appear to have developed a sort of regional dwarfism.

The major distinguishing characteristics that differ from Pygmies are that 
Floresiensis appear to average about a meter in height (three feet), Pygmies 
are half again as tall.  Pygmies live in Africa, Floresiensis lived in 
Indonesia.  Pygmies developed sometime in the past several thousand years, 
probably from the ancestral Khoisan peoples of Africa (although there is a 
lot of debate here too), Floresiensis lived as recently as 18,000 years ago. 
  Pygmies are also modern Homo Sapiens, it is likely that modern humans are 
more closely related to Neanderthal than to Flores, but it's a little early 
in the game to declare any absolutes there either :)

There are other diminuative populations in the world who are similar to the 
Pygmies, names those tribal groups that used to be lumped together as 
"Negritos", and could be found in the Philippines, the Andaman Islands, the 
Malay Peninsula and Australia, although these also were clearly modern Homo 
Sapiens.  If we note that some of these lived in the dame general regions as 
Floresiensis, we could debate whether they could be descended from Flores, 
or whether these peoples made similar adaptations to the environment that 
Floresiensis did.

So, what's the difference between Sapiens and Erectus.  If you are into that 
whole "Evolution" thing, and I am, Erectus are our ancestors. our 
grandparent species, as it were, and over the million and a half (more or 
less) that Erectus was around, several subspecies developed, and these are 
thought to have become separate species (e.g. Archaic H. Sapiens, 
Neandertal, Floresiensis among them).

Does this help any?

Marc

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Date: Fri, 29 Oct 2004 17:20:01 -0400 (EDT)
Subject: Re: [h-cost] Hobbits Found
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     Since people are talking about average heights, it seemed worth
considering the statistical idea of what is an average range.  I'm
only remembering it vaguely from a class years ago, and thought
someone else on the list might know.  But since no one else responded
I figure they're not interested in discussing it from that angle.

     It was your comment about being below average in height that prompted
it, but I didn't think you'd be the only one to respond.  Oh well!

     -Carol

> Of course there's a height bell curve, and of course everyone is not in
> the middle of it. But I'm not at all sure what your question is.  Or why
> you're asking me, as opposed to looking up the data as given by people
> who actually did the studies.  Those articles are what I found at the
> top of a quick Google search. There are many others on the net.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] RE: Hobbits Found- Anthropology 101
Date: Fri, 29 Oct 2004 17:58:48 -0400
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Yes, Marc- But please- what did they *wear*!!!!!!!! :-)) I won't even ask you what kind footwear
they might have had!

Thank you for the clear summation- it did help a lot!

Pax, 
::Linda::
{running and ducking- fast!}

 On Behalf Of Marc Carlson
 
>From: Katie Pleasance <Katie@katiesorchids.com>
>BTW, I'm curious about the difference between the 'Hobbit's and ordinary
>African Pygmies. It seems to me to be a tempest in an academic teapot ...

Homo Floresiensis (I refuse to refer to them as "Hobbits") are being 
reported as being derived from a population of Homo Erectus that over time 
appear to have developed a sort of regional dwarfism.

<snippage of much great info>

So, what's the difference between Sapiens and Erectus.  If you are into that 
whole "Evolution" thing, and I am, Erectus are our ancestors. our 
grandparent species, as it were, and over the million and a half (more or 
less) that Erectus was around, several subspecies developed, and these are 
thought to have become separate species (e.g. Archaic H. Sapiens, 
Neandertal, Floresiensis among them).

Does this help any?

Marc


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Subject: [h-cost] NYTimes.com Article: Art Review | 'Princely Splendor':
	Baubles of Awesome Refinement 
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The article below from NYTimes.com 
has been sent to you by joanmj@surewest.net.


I saw this article on the NYTimes web site.  Makes me wish I lived near New York City.
Joan Jurancich
Sacramento, CA

joanmj@surewest.net


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Art Review | 'Princely Splendor': Baubles of Awesome Refinement

October 29, 2004
 By MICHAEL KIMMELMAN 



The Met's glittery display of tools, armor and sculpture
from 17th-century Dresden is a  constructive reminder of
the artistic roots of wonderment.

http://www.nytimes.com/2004/10/29/arts/design/29kimm.html?ex=1100088335&ei=1&en=6dfd8d3a85cdb80a


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At 01:08 PM 10/29/2004 -0400, you wrote:
>Well, I'm 5'0", with stubby legs, and I'd croak if I ever found a pair of 
>pants that FIT. I just bought a pair of jeans that are marked petite, and 
>they are inches too long. grrrr
>
>Dianne


My mom is also 5'0" (she's Japanese/Ainu), and she wears my clothes from 
when I was a pre-teen, or her own hand sewn garments. She recently told me 
that those garments are now too large for her, as she's lost a lot of 
weight, relatively speaking - from 95 pds to 83 pds currently (she's 
recovering from cancer). She hates to shop at stores, except for nice 
shoes, and it is from her that I learned my sewing skills. She really could 
make anything from just a picture, and could just take a few key 
measurements and make anything fit perfectly.

And while I thought Mom was small (I am 5'6"), I met an old Japanese friend 
of hers that is much smaller... about 4' or so, as my Mom stands a whole 
head or more taller than her friend.

Kimiko

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At 09:13 AM 10/29/2004 -0700, you wrote:
>The gown fabric in the "Jane Grey" picture ( 
>http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg ) 
>resembles the picture of Mary I by Hans Eworth (Portrait 23 in Roy 
>Strong's "The English Icon").  The pattern of the gown fabric is very 
>similar, though Mary is wearing a partlet of the same fabric, so you don't 
>see the low neckline.  The pose is pretty much a standard one; in fact, 
>there is another portrait of Mary with the same pose by "Master John" 
>(Portrait 12, English Icon) dated 1544.
>
>Joan Jurancich
>joanmj@surewest.net


Thanks for the info. Another book of his I have to find/track down.

Kimiko


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] linen wool for tudor clothing
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At 10:11 AM 10/29/2004 -0700, you wrote:
>I am lining  a few 1560 garments (a gown and a doublet) I am using 
>chocolate wool flannel and would like to line them with linen. Should I 
>dye the linen chocolate or is it appropriate to leave it white. These are 
>merchant garments and will not be very "fancy" (i.e encrusted with gold 
>embroidery or paired with velvet)
>
>Thank you thank you, Angelique

Hi Angelique,

Leave the lining linen white. Otherwise it can stain your white or light 
color chemises/shirts, especially if you sweat (glow). It won't show much, 
but if you are really concerned about certain areas showing (collar, cuffs, 
epaulettes, picadills, etc.), you can add a layer of colored silk or 
colored linen to match, but for merchant class I really wouldn't worry 
about it.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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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] linen wool for tudor clothing
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I'd leave it whatever color the linen already is.  Especially since
linen can be pretty hard to dye decently.
I've got the better part of a bolt of natural colored linen (7 oz) to
use for linings.  Dunno that I'd go for white, as I'd be afraid of
getting it dirty.  Of course, I get *everything* dirty!
--sue, who also has some select "lining linen" in some completely 
obnoxious colors for some "fun" fitted gowns.....;o)

~Angelique wrote:

> I am lining  a few 1560 garments (a gown and a doublet) I am using
> chocolate wool flannel and would like to line them with linen. Should
> I dye the linen chocolate or is it appropriate to leave it white.
> These are merchant garments and will not be very "fancy" (i.e
> encrusted with gold embroidery or paired with velvet)
> 
> Thank you thank you, Angelique
> 
> __________________________________________________ Do You Yahoo!? 
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Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici
Date: Fri, 29 Oct 2004 17:58:37 -0700
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I believe that's the right woman, but not the right painting, although it's 
hard to tell from the size. I tried the virtual Uffizi, but without the 
correct title, I was unable to pull it up. I also couldn't tell from their 
"room" listings if the outer halls were among the sources of scans for 
perusal.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
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

----- Original Message ----- 
From: "Jacqueline Johnson" <jacquelinejbump@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 27, 2004 11:54 AM
Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici


> http://www.italiadonna.it/public/percorsi/biografie/imgs/004.jpg
> If it's the Medici woman I think it was she was the last survivor of
> the clan. You could also check the Virtual Uffizi and see if it's
> there
> http://www.arca.net/uffizi/
>
> ============================
> Italian Ladies 2005 Calendar
> http://www.lulu.com/kristalori
> http://kristalori.com
> http://snipurl.com/96f1 Dress Diaries
> http://snipurl.com/9bir That 70's Trailer
> ============================
> On Wed, 27 Oct 2004 11:36:43 -0700, Cabbage Rose Costumes
> <cabbagerose@sbcglobal.net> wrote:
>> If any of you marvelous scholars can assist me in my quest I would be
>> forever grateful.  I was recently in Italy, and in the Uffizi Galleries. 
>> In
>> the halls outside the main rooms there are many portraits.  There was one 
>> of
>> a stunning lady in a red gown, approximately 1720-30 I was informed by 
>> the
>> docents that it is of Anna Maria Luisa de'Medici.
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From: Jacqueline Johnson <jacquelinejbump@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Portrait of Anna Maria Luisa de'Medici
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I'd email them then. The Uffizi is fairly decent about taking pics of
portraits for a small fee.

============================
Italian Ladies 2005 Calendar
http://www.lulu.com/kristalori
http://kristalori.com
http://snipurl.com/96f1 Dress Diaries
http://snipurl.com/9bir That 70's Trailer
============================


On Fri, 29 Oct 2004 17:58:37 -0700, Cabbage Rose Costumes
<cabbagerose@sbcglobal.net> wrote:
> I believe that's the right woman, but not the right painting, although it's
> hard to tell from the size. I tried the virtual Uffizi, but without the
> correct title, I was unable to pull it up. I also couldn't tell from their
> "room" listings if the outer halls were among the sources of scans for
> perusal.
> 
> angela
> +++++
> Angela F. Lazear
> Cabbage Rose Costumes
> www.cabbagerosecostumes.com
> Theatrical Costume Design
_______________________________________________
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Subject: [h-cost] Thoughts re: archaeology, grave-opening, etc.
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Just trying to get my own opinion in before this topic completely
vanishes from the list:

I agree with the notion of respecting the wishes of the still-living
relatives. Beyond a couple of hundred years, my reasoning is, it's
just a body, and there is no religious or traditional reason *not* to,
as long as care is taken to restore the burial once the study is
finished.

The case of the Kennewick man has frustrated me since I first heard of
it. On the one hand, I can understand where Native American peoples
whose graves were ravaged by 19th century grave robbers/extremely
amateur archaeologists would rather not see their ancestors' remains
on display in a museum. At the same time, I'm hopping mad that the
tribes in question wouldn't initially permit testing to see if it
*was* one of their ancestors (I read about the discovery first in a
book called "No Bone Unturned"; I found out later that a court later
ruled for limited testing). Also, if the skeleton carbon dates to over
10,000 years ago, not only is it not related to any Native American
tribes currently living, it's not related to *anyone* who knew
Kennewick man personally - if care is taken, I don't think anyone can
take it too personally.

I disagree with the notion of opening a grave "just" for the clothing
though - or just to look at the grave goods, or test the bones, etc.
Any large excavation should allow for as much data
gathering/testing/recording from as many disciplines as possible. Get
as much data as possible the first time, and perhaps there will be
less need or desire for repeated excavations of the same grave.

Just my $.02 as an interested observer, not a professional
archaeologist/pathologist in any way at all,

Allison T.
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Subject: Re: Mummies not fuel was: Re: OT Archaeology shows
	(was:RE:[h-cost]	Re: opening tombs and Medici	Crypt program
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----- Original Message ----- 
From: "Frank and Tracy Thallas" <hardcorps@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 28, 2004 2:38 AM
Subject: Re: Mummies not fuel was: Re: OT Archaeology shows (was:RE:[h-cost]
Re: opening tombs and Medici Crypt program


>   Thanks.  I gotta stop buying what I see on "The Hitler Channel"...<G>
only that show claimed mummy-logs
> on European trains, and unravelled to add wrappings to paper in the US.
Alledgedly why we have brown paper bags today...<G>
>
> Liadain
<snip>
A lot of mummies were unwrapped to find out what they were like inside, this
made them much more susceptible to damage and even losing body parts (Sydney
University's Ancient History Museum has a mummy head and foot probably from
two different mummys) these days they avoid unwrapping them and use
technology like X-rays and CT scans to find out what is under the bindings.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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Subject: [h-cost] Treasures of Tutankhamen exhibit
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I'm so excited that someone mentioned this exhibit on this list! It's
the first museum exhibit I remember - I was about 4 and my parents
were visiting family in Chicago. I remember how crowded it was, and I
remember the huge death mask.

Some years ago I found the catalog very cheap at half.com and picked
it up, just because. One day I'm just going to have to go see it all
again, but I suspect I'll need to go to Cairo for that!

Allison T.
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Subject: [h-cost] FYI, Renaissance Dancewear news
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Hi all

I apologize if you get post this multiple times.

I just got info today that Stacey Leigh, the owner of Renaissance Dancewear 
of 15 years (and a former resident of Fresno and small faire patron), is 
going out of business at the end of the year.

This really bums me, because I am really enjoying the tights I bought from 
her this year. They are the vented tights, and it really has made bathroom 
breaks much easier to deal with while wearing hoops. My husband has enjoyed 
his vented tights as well. We are definitely satisfied customers, but 
otherwise have no major connection to the company.

But life does move on, and apparently so is Stacey.

She notes that she will be accepting orders for tights until the end of 
November 2004. If you are interested, please order asap. Her wares are 
shown on her web site.

She also says she is looking for someone who is interested in purchasing 
her business. If you are interested, please contact her.

Renaissance Dancewear
PO Box 313
Rising Sun, IN 47040
812-438-4114
rendance@renaissancedancewear.com
http://www.renaissancedancewear.com


Kimiko

Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

"When there is fear, there is no creativity" ~ C. Lowell

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Since I live in a largely Oriental neighborhood, indeed a geographic 
area with a large Oriental population, I have a reasonable amount of 
company sizewise.  Makes for a good petites selection (well, as good as 
it ever gets) in local department stores.  The problem with making 
modern clothes is they're just not all that interesting to sew.

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com


>
>
> My mom is also 5'0" (she's Japanese/Ainu), and she wears my clothes 
> from when I was a pre-teen, or her own hand sewn garments. She 
> recently told me that those garments are now too large for her, as 
> she's lost a lot of weight, relatively speaking - from 95 pds to 83 
> pds currently (she's recovering from cancer). She hates to shop at 
> stores, except for nice shoes, and it is from her that I learned my 
> sewing skills.

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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] image of Jane Grey?
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> >The gown fabric in the "Jane Grey" picture (
> >http://photos.ladybrooke.com/sca/images/velvettudorgown/janegrey.jpg )
> >resembles the picture of Mary I by Hans Eworth (Portrait 23 in Roy
> >Strong's "The English Icon").  The pattern of the gown fabric is very
> >similar, though Mary is wearing a partlet of the same fabric, so you
don't
> >see the low neckline.
Do you mean this one? http://tudorhistory.org/mary/maryred.jpg it's not the
best scan of this portrait I've seen I've got a better copy on my hard drive
but I don't know where I got it from. The brocade pattern is similar this
sort of design is very popular in the 16th century but I'm pretty sure it's
a different sort of fabric, Jane Grey's fabric looks like a voided velvet (I
don't know whether the pile has been removed or it was only woven in at the
appropriate places) Whereas Mary's appears to be a standard flat brocade.

  The pose is pretty much a standard one; in fact,
> >there is another portrait of Mary with the same pose by "Master John"
> >(Portrait 12, English Icon) dated 1544.
> >
> >Joan Jurancich
> >joanmj@surewest.net

Would that be http://www.marileecody.com/mary1.jpg ? it's what google turned
up when I searched using the details you provided (Mary "master John" 1544)
I agree that posing the hands in the portraits was very popular but it's
also a way of showing off those sleeves to their best advantage.
Elizabeth

----------------------------------------------------------------------------
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Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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>From: "Linda Rice" <vmaa2@cox.net>
>Yes, Marc- But please- what did they *wear*!!!!!!!! :-)) I won't even ask 
>you what kind footwear
>they might have had!
>Thank you for the clear summation- it did help a lot!

My pleasure - and t-tunics and tennis shoes - just like everyone else :)

Marc

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From: Frank and Tracy Thallas <hardcorps@earthlink.net>
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Subject: Re: Mummies not fuel was: Re: OT Archaeology shows	(was:RE:[h-cost]
	Re: opening tombs and Medici	Crypt program
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  I'd think just bringing them to places like jolly old soggy England would be the beginning
of the end, even without  unwrapping!  Aaaaaaaaaaa, the fungus....

Liadain



A lot of mummies were unwrapped to find out what they were like inside, this
made them much more susceptible to damage and even losing body parts (Sydney
University's Ancient History Museum has a mummy head and foot probably from
two different mummys) these days they avoid unwrapping them and use
technology like X-rays and CT scans to find out what is under the bindings.
Elizabeth
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             ewalpole@austarmetro.com.au

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Subject: Re: [h-cost] RE: Hobbits Found- Anthropology 101
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On Friday 29 October 2004 5:58 pm, Linda Rice wrote:
> Yes, Marc- But please- what did they *wear*!!!!!!!! :-)) I won't even ask
> you what kind footwear they might have had!

Ah, but if they were *real* hobbits, they wouldn't have worn "any* footwear.  

<ducking for cover>  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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>From the Mediev-L academic e-mail list a poster mentioned this article on a
study of medieval human height titled:
"Men From Early Middle Ages Were Nearly As Tall As Modern People"  From
Science Daily.


http://www.sciencedaily.com/releases/2004/09/040902090552.htm

The author felt that conditions and nutrition had the most to do with
average human heights (middle of that bell curve).

Regina



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> >> That said, if I were to be dug up 500 years from now, I can only
imagine
> >> what a row it would cause when it was discovered that I was wearing
> >> clothes
> >> from
> >> an era 400 years previous to when I supposedly died.
> >>
> >>
> > Ha ha ha! Kimberley, you made my day!
> >
> > Gail Finke
> >
> Actually, I've been threatening to do that for years :)  Hopefully, some
> archaeology student in the future could get a thesis out of it.
>
> Susan

Well why not? most people are burried in their best clothes, if your best
clothes happen to be in the style of the 16th century you can use them *g*
unfortunately most of us won't be buried in ideal conditions for textile
preservation.
Elizabeth
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Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
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             ewalpole@austarmetro.com.au

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http://www.pepysdiary.com/archive/1661/10/29/index.php

This day I put on my half cloth black stockings and my new coat of the 
fashion, which pleases me well, and with my beaver I was (after office 
was done) ready to go to my Lord Mayors feast, as we are all invited;

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Date: Fri, 29 Oct 2004 20:33:06 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] More costume/theater notes 1661
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Do you have a feel for the equivalent cost of things in Pepys' time - 24 
shillings for a belt, however fancy, sounds extortionate!  but maybe my 
time-and-money sense is out?

Jean



Cynthia Virtue <cvirtue+dated+1114557130.f043f0@thibault.org> wrote
>Another from the serialized Pepys diary: 
>http://www.pepysdiary.com/archive/1661/10/28/index.php
>
>"and they and I to the Theatre, and there saw âArgalus and 
>Parthenia,â where a woman acted Parthenia, and came afterwards on the 
>stage in menâs clothes, and had the best legs that ever I saw, and I 
>was very well pleased with it. Thence to the Ringo alehouse, and 
>thither sent for a belt-maker, and bought of him a handsome belt for 
>second mourning, which cost me 24s., and is very neat."
>
>cv
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] More costume notes 1661
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>http://www.pepysdiary.com/archive/1661/10/29/index.php
>
>This day I put on my half cloth black stockings and my new coat of the 
>fashion, which pleases me well, and with my beaver I was (after office was 
>done) ready to go to my Lord Mayor's feast, as we are all invited;

And, from that page:

A nice, if overwhelming, description of how to make a beaver hat
http://www.whiteoak.org/learning/furhat.htm


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

              //// \\\
             ////-@@\\\
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             (((  <> ))))
                )   ((((((
           /----\   /---\))

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Date: Sat, 30 Oct 2004 19:11:28 +0100 (BST)
From: julian wilson <smnco37@yahoo.co.uk>
Subject: Re: [h-cost] More costume/theater notes 1661
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I have found a very useful money-value converter to bew the following online tool. There is apparently a great deal of serious economic research backing-up the Site.
"How much is that worth Today" - < http://eh.net/hmit/ppowerbp/ >
Julian Wilson, 
in "olde" Jersey,
15 miles off the French Coast

Jean Waddie <anne@montgomerie.demon.co.uk> wrote: 
Do you have a feel for the equivalent cost of things in Pepys' time - 24 
shillings for a belt, however fancy, sounds extortionate! but maybe my 
time-and-money sense is out?

Jean



Cynthia Virtue wrote
>Another from the serialized Pepys diary: 
>http://www.pepysdiary.com/archive/1661/10/28/index.php
>
>"and they and I to the Theatre, and there saw âArgalus and 
>Parthenia,â where a woman acted Parthenia, and came afterwards on the 
>stage in menâs clothes, and had the best legs that ever I saw, and I 
>was very well pleased with it. Thence to the Ringo alehouse, and 
>thither sent for a belt-maker, and bought of him a handsome belt for 
>second mourning, which cost me 24s., and is very neat."
>
>cv
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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Subject: [h-cost] RE: Heights was ] Hobbits Found
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From: "Wanda Pease" <wandap@hevanet.com>
>>From the Mediev-L academic e-mail list a poster mentioned this article on 
>>a study of medieval human
>>height titled: "Men From Early Middle Ages Were Nearly As Tall As Modern 
>>People"  From
>>Science Daily.
>http://www.sciencedaily.com/releases/2004/09/040902090552.htm
>The author felt that conditions and nutrition had the most to do with
>average human heights (middle of that bell curve).

Just some bits.

Looking at heights of cattle, the "early Middle Ages" (which is, as we know, 
the modern term for what was once called "the Dark Ages") cattle were about 
1.12-1.15 meters high at the shoulder (compared to the average to 1.5 meters 
for today).  This dropped to 1. 09 meters in the High Middle Ages, and 
popped back up to 1.2 meters in the post medieval period.

I am told that recently at the Shoes in History conference in Zlin last 
month, a presentation demonstrated that most medieval shoes found were 
childrens shoes, based on the the soles.  Medieval shoe soles are frequently 
going to be significantly smaller than the shoe's actual size (it has to do 
with the shape of the last, and the use of the welt to extend the soles' 
size -- if you are just measuring the sole, you aren't going to get the 
whole size).

So it's entirely possible that medieval people were "nearly" as tall as 
modern people.

Marc

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Date: Sat, 30 Oct 2004 21:18:16 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] More costume/theater notes 1661
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Thanks!

For your interest, it came up at 124 pounds.  Still extremely expensive 
in my book, but within reason if it was decorated, maybe with elaborate 
fittings.

(for my main period, 12th century, it came out at nearly a thousand 
pounds!)

Jean


julian wilson <smnco37@yahoo.co.uk> wrote
>I have found a very useful money-value converter to bew the following 
>online tool. There is apparently a great deal of serious economic 
>research backing-up the Site.
>"How much is that worth Today" - < http://eh.net/hmit/ppowerbp/ >
>Julian Wilson,
>in "olde" Jersey,
>15 miles off the French Coast
>
>Jean Waddie <anne@montgomerie.demon.co.uk> wrote:
>Do you have a feel for the equivalent cost of things in Pepys' time - 24
>shillings for a belt, however fancy, sounds extortionate! but maybe my
>time-and-money sense is out?
>
>Jean
>
>
>
>Cynthia Virtue wrote
>>Another from the serialized Pepys diary:
>>http://www.pepysdiary.com/archive/1661/10/28/index.php
>>
>>"and they and I to the Theatre, and there saw Ă˘âŹĹArgalus and
>>Parthenia,Ă˘âŹ? where a woman acted Parthenia, and came afterwards on the
>>stage in menĂ˘âŹâ˘s clothes, and had the best legs that ever I saw, and I
>>was very well pleased with it. Thence to the Ringo alehouse, and
>>thither sent for a belt-maker, and bought of him a handsome belt for
>>second mourning, which cost me 24s., and is very neat."
>>
>>cv
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>

-- 
Jean Waddie
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To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Re: Mummies not fuel was: Re: OT Archaeology shows
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Actually that was one of the things I noticed when I lived in England,
coming from a relatively dry environment (inland Australia not quite the
desert but pretty dry) I was stunned to see how quickly food went moldy. I
imagine it would be much the same for any organic material which is why
important things are kept in special climate controlled areas.
Elizabeth

>
>   I'd think just bringing them to places like jolly old soggy England
would be the beginning
> of the end, even without  unwrapping!  Aaaaaaaaaaa, the fungus....
>
> Liadain
>
>
>
> A lot of mummies were unwrapped to find out what they were like inside,
this
> made them much more susceptible to damage <snip>

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<snip>
> I am told that recently at the Shoes in History conference in Zlin last
> month, a presentation demonstrated that most medieval shoes found were
> childrens shoes, based on the the soles.  Medieval shoe soles are
frequently
> going to be significantly smaller than the shoe's actual size (it has to
do
> with the shape of the last, and the use of the welt to extend the soles'
> size -- if you are just measuring the sole, you aren't going to get the
> whole size).
<snip>
Well it does make sense that children's shoes would be outgrown before they
are worn out, thus making them more likely to survive. Although kids are
usually harder on their clothing (and shoes) than adults if they hit a
growth spurt they can outgrow things incredibly quickly.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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At Sat, 30 Oct 2004 14:53:40 +1000, "Elizabeth Walpole" 
<ewalpole@austarmetro.com.au> wrote:

>...most people are burried in their best clothes,

Depends on culture and religion. Jews are buried in linen shrouds that are 
sewn around the corpse -- not in day clothes or "Sunday Bests" -- and 
buried in wooden coffins which are designed *to* disintegrate. Other 
religions and cultures have other customs for the disposal of corpses.

It seems to me that in the absence of other corroborating evidence (such as 
portraiture and written records in the case of the Medicis), the only 
cultural clues that examination of deliberately-buried corpses can tell us 
are: (1) at that time or some time prior to burial, technology existed 
somewhere within that culture's trading radius to produce the grave goods 
found with the corpse (any extant textiles included), and (2) the burial 
customs of that culture *may* include a variant that prescribes the 
observed states of preservation of the tomb or crypt, the coffin or 
sarcophagus, the corpse entire, any excised portions of the corpse buried 
with the corpse, the state of embalming of the corpse, the attire of the 
corpse, and any other grave goods found with the corpse. I say "may", 
because in the absence of multiple examples from the same place, time, and 
culture, it is possible that that particular burial was idiosyncratic.

(BTW, I am of the "let the dead rest in peace" school -- as curious as I 
might be about how and why someone or some culture died, or what textiles 
they wore, their bodies should not be exhumed nor physical samples taken. 
Eventually we will develop sufficiently nondestructive testing methods to 
be able to examine these people and the remnants of their lives and 
cultures without disturbing their eternal rests.)



Brenda
webwarren@earthlink.net 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
Sorry about this off topic, but is there a kind soal who can help me with 
something.
I am taking out files from my homepage wich are old and i think my ftp 
server is making me a trick.
Would someone please check if this site still is on my homepage?
http://www.my-drewscostumes.dk/caraco_jacket.htm

I dont know if it is my computer wich is tricking me, but my ftp server says 
this site isnt there, but i get it on my browser.
What is going on?

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Sun, 31 Oct 2004 11:31:37 +0100
To: Historical Costume <h-costume@indra.com>
From: Jill Hadfield <jill@jigrah.co.uk>
Subject: Re: [h-cost] OT./ checking a website
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Hello Bjarne

I got it on mine as well

Jill

At 12:15 31/10/2004 +0100, you wrote:

>Hi,
>Sorry about this off topic, but is there a kind soal who can help me with 
>something.
>I am taking out files from my homepage wich are old and i think my ftp 
>server is making me a trick.
>Would someone please check if this site still is on my homepage?
>http://www.my-drewscostumes.dk/caraco_jacket.htm
>
>I dont know if it is my computer wich is tricking me, but my ftp server 
>says this site isnt there, but i get it on my browser.
>What is going on?
>
>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
>

JiGraH Resources  -  www.jigrah.co.uk

--=======3A4E24E1=======
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_______________________________________________
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--=======3A4E24E1=======--

From h-costume-bounces@indra.com  Sun Oct 31 06:36:20 2004
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> Would someone please check if this site still is on my homepage?
> http://www.my-drewscostumes.dk/caraco_jacket.htm

It came up on my computer.

cv
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From h-costume-bounces@indra.com  Sun Oct 31 11:01:54 2004
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Date: Sun, 31 Oct 2004 07:59:31 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] OT./ checking a website
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At 12:15 PM 10/31/2004 +0100, you wrote:
>Hi,
>Sorry about this off topic, but is there a kind soal who can help me with 
>something.
>I am taking out files from my homepage wich are old and i think my ftp 
>server is making me a trick.
>Would someone please check if this site still is on my homepage?
>http://www.my-drewscostumes.dk/caraco_jacket.htm
>
>I dont know if it is my computer wich is tricking me, but my ftp server 
>says this site isnt there, but i get it on my browser.
>What is going on?
>
>Bjarne
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/

  I just went to the site, and it's still there.  It can't be just your 
computer.

Joan Jurancich
joanmj@surewest.net

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

From h-costume-bounces@indra.com  Sun Oct 31 11:44:18 2004
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From: gia_gavino@comcast.net (Elena O'Tighearnaigh)
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT./ checking a website
Date: Sun, 31 Oct 2004 16:43:00 +0000
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	clamav-milter version 0.80j
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	clamav-milter version 0.80j on net.indra.com
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I funno why you get that ftp error message, but I get the page with all the *gloriously* breathtakingly gorgeous pictures.

You are *so* inspiring!  I *adore* your work!

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares

-------------- Original message -------------- 

> Hi, 
> Sorry about this off topic, but is there a kind soal who can help me with 
> something. 
> I am taking out files from my homepage wich are old and i think my ftp 
> server is making me a trick. 
> Would someone please check if this site still is on my homepage? 
> http://www.my-drewscostumes.dk/caraco_jacket.htm 
> 
> I dont know if it is my computer wich is tricking me, but my ftp server says 
> this site isnt there, but i get it on my browser. 
> What is going on? 
> 
> Bjarne 
> 
> 
> 
> 
> Leif og Bjarne Drews 
> www.my-drewscostumes.dk 
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume 
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

From h-costume-bounces@indra.com  Sun Oct 31 12:03:25 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Date: Sun, 31 Oct 2004 18:01:47 +0100
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Subject: [h-cost] tool for bending passing thread
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Hi,
Does any of you know what the tool you use to bend gold passing thread is 
called? I need such a one, i have seen it, but i forgot the name.
When you outline embroidery with gold passing thread, the thread needs to be 
bended at sharp corners. It is a very stiff metallic thread, and it is 
difficult to do it!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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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] OT./ checking a website
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It shows up just fine with my browser as well.  (I'm using Netscape.)
--sue

Jill Hadfield wrote:

> Hello Bjarne
> 
> I got it on mine as well
> 
> Jill
> 
> At 12:15 31/10/2004 +0100, you wrote:
> 
>> Hi,
>> Sorry about this off topic, but is there a kind soal who can help me 
>> with something.
>> I am taking out files from my homepage wich are old and i think my ftp 
>> server is making me a trick.
>> Would someone please check if this site still is on my homepage?
>> http://www.my-drewscostumes.dk/caraco_jacket.htm
>>
>> I dont know if it is my computer wich is tricking me, but my ftp 
>> server says this site isnt there, but i get it on my browser.
>> What is going on?
>>
>> Bjarne


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From: "The Foxes" <fox3785@charter.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] tool for bending passing thread
Date: Sun, 31 Oct 2004 12:34:30 -0500
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Hi,

Mellore, I think is the word you are looking for.

http://www.berlinembroidery.com/tools.htm#mellore

Good luck

Eleanor

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: Sunday, October 31, 2004 12:02 PM
To: h-costume@indra.com
Subject: [h-cost] tool for bending passing thread

Hi,
Does any of you know what the tool you use to bend gold passing thread
is 
called? I need such a one, i have seen it, but i forgot the name.
When you outline embroidery with gold passing thread, the thread needs
to be 
bended at sharp corners. It is a very stiff metallic thread, and it is 
difficult to do it!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] tool for bending passing thread
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>Does any of you know what the tool you use to bend gold passing thread is 
>called? I need such a one, i have seen it, but i forgot the name.
>When you outline embroidery with gold passing thread, the thread needs to 
>be bended at sharp corners. It is a very stiff metallic thread, and it is 
>difficult to do it!

Is it a tramming needle?  But I think any large needle should do.


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

              //// \\\
             ////-@@\\\
            ((((   7 )))
             (((  <> ))))
                )   ((((((
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> Hi,
> Does any of you know what the tool you use to bend gold passing thread is
> called? I need such a one, i have seen it, but i forgot the name.
> When you outline embroidery with gold passing thread, the thread needs to
be
> bended at sharp corners. It is a very stiff metallic thread, and it is
> difficult to do it!
>
> Bjarne

Would you be thinking of such a tool?
http://www.berlinembroidery.com/tools.htm#mellore
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Subject: RE: [h-cost] need millinery supplies
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I am not 100% sure but usually straw hat were worn in the spring and summer.
wool felted hats were fall and winter. I think one of the major patterns
makers has a pattern for a caroler's bonnet. Don't have the time right now
to look.

De

-----Original Message-----
Hi Grace~

Not sure if this is what you are looking for, but its straw, and it's cheap!
As to fast, I really
don't know, I've not used this supplier.
http://www.hatsupply.com/costume_hats.htm
Scroll all the way to the bottom.

HTH-
::Linda::

-----Original Message-----
 On Behalf Of Grace Morris
[h-cost] need millinery supplies

I usually sew an earlier time period, but now I find that I need to
come up with a "Victorian" caroling outfit in pretty quick order.
Nothing fancy, just nice enough to earn $$ over the holiday season.
I'm in need of a basic straw hat base--I can handle all the decorating
myself.  Can anyone recommend a fast, on-line supplier?

Grace/Jessamyn


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] mellore
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Hi,
Yes it was a Mellore, thanks for helping me out with this.
Only thing when i look at such a thing, i could just as well use a big wool 
needle. Dont make the big difference sort of............

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] Elizabethan embroidery
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Hi,
My making of the stomacher for the new dress i make, i wondered.
I think i could make some lovely embroidered Elizabethan stomachers.
Do you think there would be a market for this?
If i put up some examples on my homepage? Perhaps there would be many 
american reenactors that would be interrested in this?

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  Sun Oct 31 16:04:21 2004
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Subject: Re: [h-cost] Elizabethan embroidery
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I have often thought it would be a good market for handwork, which is also 
my specialty.  It's just the thing to really spruce up a dress, and you do 
such an amazing job!  It's small and portable, so shipping isn't 
prohibitive, and there are many ladies out there who do not do handwork but 
do everything else.

It's worth a try. Do a few pics of the ones you've already made, decide what 
the price(s) should be and see if you get any nibbles (that's slang for 
offers from customers)!

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
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

----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Sunday, October 31, 2004 12:29 PM
Subject: [h-cost] Elizabethan embroidery


> Hi,
> My making of the stomacher for the new dress i make, i wondered.
> I think i could make some lovely embroidered Elizabethan stomachers.
> Do you think there would be a market for this?
> If i put up some examples on my homepage? Perhaps there would be many 
> american reenactors that would be interrested in this?
>
> 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  Sun Oct 31 16:17:57 2004
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From: gia_gavino@comcast.net (Elena O'Tighearnaigh)
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Elizabethan embroidery
Date: Sun, 31 Oct 2004 21:16:52 +0000
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Let me put it this way....Yes!   I think it'd be awesome!!!  And if there was a way that you could also do something along the lines of having the option to have matching forepart and or sleeves would be a possiblity as well?

Hmm...Now I have to see about replacing my old corset with one that *fits* so I can make an elizabethan.... and tudor...and then make another one for regency...*sigh*

Gia...dreaming of being in sewing heaven
--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares

-------------- Original message -------------- 

> Hi, 
> My making of the stomacher for the new dress i make, i wondered. 
> I think i could make some lovely embroidered Elizabethan stomachers. 
> Do you think there would be a market for this? 
> If i put up some examples on my homepage? Perhaps there would be many 
> american reenactors that would be interrested in this? 
> 
> 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] Elizabethan embroidery
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Interest?  Oh, yeah!
Michelle

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    I think there might be, if you can make beautiful things for a reasonable price
(and still have a nice profit for you).  I think you just have to advertise in the right place!

Liadain

-----Original Message-----
From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
Sent: Oct 31, 2004 1:29 PM
To: h-costume@indra.com
Subject: [h-cost] Elizabethan embroidery

Hi,
My making of the stomacher for the new dress i make, i wondered.
I think i could make some lovely embroidered Elizabethan stomachers.
Do you think there would be a market for this?
If i put up some examples on my homepage? Perhaps there would be many 
american reenactors that would be interrested in this?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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