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

De

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


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


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

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

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

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



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


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

(A Hungarian working in Ferrara mid 15th century)

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

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

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

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

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

Suzi 


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

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

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

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

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

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

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



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

Greetings,
       Deredere

Sharon at Collierfam.com wrote:

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


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


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

Looks like she is preparing flax.

Susan

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

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

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


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

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

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

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

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

- Hope


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

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

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

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

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

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

http://www.tudortailor.com/

It's supposed to be out this month!

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


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


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

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

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

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

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


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


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

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

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

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

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

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

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


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

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

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

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

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

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

The layers Ninya used, as I see it are:

Smock
Red wool/taffeta petticoat 
Farthingale
Kirtle
Gown

Hope that's useful!
	-sunny


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


*snippage*

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

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

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


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


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

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

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

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

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


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

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


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


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

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

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

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

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


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

Bjarne

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


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

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

- Hope

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

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

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

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

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


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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

--Robin



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

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

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

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

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

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

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

Good luck...

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

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

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

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

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

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

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

- Hope


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

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

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

Debs

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

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

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

  Thank you!
  KP


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

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

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

Thank you!
KP


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

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

      -Carol


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

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

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

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


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

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

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

Sandy

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

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

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

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

Andromeda  


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

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


Joan Jurancich
joanmj@surewest.net 

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

Probably "breaking" flax.


Joan Jurancich
joanmj@surewest.net 

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


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

Kimiko


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


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

Kimiko


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


Kate Bunting
Librarian and 17th century reenactor

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

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


Joan Jurancich
joanmj@surewest.net 

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


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

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

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

Kitty in SW PA  USA


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

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

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

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

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

michaela de bruce
http://glittersweet.com



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



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

Suzi 


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

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

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

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

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

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

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


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

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


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


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

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

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


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

Thank you again,

Kimiko


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

Kate Bunting
Librarian and 17th century reenactor


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

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

Kitty

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

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

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

Susan

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

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

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

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

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

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


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

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

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

--Robin

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

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

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

Tried sun-bleaching it?


Dawn


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

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

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

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

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

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

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

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

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

Does anyone have any suggestions?
	Thank you,
		-sunny

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

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

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

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

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

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

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

--cin
Cynthia Barnes
CinBarnes@gmail.com

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

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

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

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

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




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

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

liz young

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

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

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

And is this what was called Or Nue'?

-E House 

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

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

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

Gail Finke

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

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

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

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

Gunvor

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


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

Roscelin

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

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

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

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

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

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

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

-E House 

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

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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

Bjarne





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

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

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

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

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

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

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

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


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

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


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

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

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

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

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

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


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

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

That is precious!  Thank you!


-- 
Cathy Raymond <cathy@thyrsus.com>

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

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

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

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

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


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

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

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

De


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

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

  KP



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

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

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

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

Hiya,

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

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

I feel your pain all too well. :-)

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

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

> http://www.berlinembroidery.com

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

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

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

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

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

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

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

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

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

> And is this what was called Or Nue'?

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

Hope that helps.

Kathy

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

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

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

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


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

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


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

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

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

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

Kat


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


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

Wendy




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

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

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

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


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


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

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

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


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

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

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

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

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

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

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


-- 
Cathy Raymond <cathy@thyrsus.com>

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

Susan

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

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

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

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

Suzi


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

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

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

I feel your pain all too well. :-)

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

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

> http://www.berlinembroidery.com

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

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

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

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

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

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

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

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

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

> And is this what was called Or Nue'?

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

Hope that helps.

Kathy

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

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

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

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

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

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

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

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

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

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

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



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

Kathleen





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


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


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

Suzi


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

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

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

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


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

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

Kate



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


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Status: RO

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

Kathy

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

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

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

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Status: RO

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

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

Thanks,
E House

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

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

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

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

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

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

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

Sounds lovely!

--cin
Cynthia Barnes
CinBarnes@gmail.com


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

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

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

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

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


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

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


Quoting Penny Ladnier <penny@costumegallery.com>:

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

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


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

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

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


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

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

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

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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

Bjarne

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


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


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

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

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

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

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

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

I found this link ;

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

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

Joannah

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

--- kjp1685@yahoo.com wrote:

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

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

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

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

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

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


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


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

Suzi


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

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

-E House 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

<<Hope that helps.>>

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

-E House

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

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

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

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

Thank you very much!
	-sunny

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

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

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

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

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

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

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

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

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

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

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

I found this link ;

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

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

Joannah

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

--- kjp1685@yahoo.com wrote:

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

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

KP

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

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

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

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

Bice


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

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

Debbie

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


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


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

Sandy

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

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

Andromeda  


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

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

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

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

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

Cheers,
Danielle Nunn-Weinberg

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

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

Cheers,
Danielle

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

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

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

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

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

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

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

Thanks,
Susan

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


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

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

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

Cheers,
Danielle

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Knots are period!!

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

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

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

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

Kathy

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

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

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

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


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


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Sue Clemenger wrote:


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

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


Dawn

A clean house is a sign of a wasted life



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

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


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


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

There are a number of web sites that can help.

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

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

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

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


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

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

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

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

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

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

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

Good luck!

-- 
Cathy Raymond <cathy@thyrsus.com>

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

-E House 

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

Thanks,
Susan

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


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

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

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

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

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

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

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







Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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

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

Danielle Nunn-Weinberg wrote:

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

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

Denise

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

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

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


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

Bjarne


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


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


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

Beth

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

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

How are things down South??

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

Monica Spence
(Catriona MacDuff in the SCA)



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


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

Beth

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

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

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


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

Beth

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

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


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

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

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



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

Kathleen 

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Status: RO

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

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

Beth

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


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

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


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

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

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

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


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

Thank you,

Nancy Stengel Ulmer

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


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

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


Which country are you wanting Margaret?

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

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

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

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

Joannah.

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

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

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

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

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

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

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

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

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

--Robin

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

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

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


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

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

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


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


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

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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

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


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

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

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

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

Jean


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

Kim

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

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

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

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

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

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

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

Denise
Iowa


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

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

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

Kim


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

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

Jean


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

Bjarne,

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

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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

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


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


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

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



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

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

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



Dawn

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

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

Beat me to it!

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

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

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

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

Bjarne

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


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


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

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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

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

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

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

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

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

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

debs

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

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


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

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


Naughty pincushions????

Gail Finke


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

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


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


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

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

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

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

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

michaela de bruce
http://glittersweet.com



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

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

Thank you for sharing the event with us:)

michaela de bruce
http://glittersweet.com



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

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



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

Bjarne,

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

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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

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



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

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

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

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

Just my 2 penn'orth.

Suzi


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

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

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

______________________________________________________________________

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


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

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

Joannah.

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





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

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

Joannah

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

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

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

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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

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

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

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

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

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

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


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

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

Kelly



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

 Maybe a new trend for us going through the change!

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

Kelly



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

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

kathleen

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


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

Thanks, for sharing.
Sg

Bjarne og Leif Drews wrote:

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

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

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

Yours-
Monica Spence


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


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

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

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


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

Land of Oz wrote:

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


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Bjarne:

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

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

Gail Finke


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

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

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


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

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


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


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Status: RO

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

Susan

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

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

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

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

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


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

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

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

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

Leah


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

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

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

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

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


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



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

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


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

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

Yours-
Monica Spence


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


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

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

=== message truncated ===

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

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

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




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


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

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

Annette and others-

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

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

Susan

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

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

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

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

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

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



Dawn


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

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


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

Diane

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





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Hi,

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

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



Dawn


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

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

Susan

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

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

 

		
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On Mon, 6 Mar 2006, Dawn wrote:

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

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

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

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

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

--Robin

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

Kathy

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

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

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

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

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

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

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

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


Susan

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

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

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




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

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

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

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

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

I would join an equestrian clothing group!
Denise

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

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


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

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

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

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

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

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


Susan

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Twiddling my fingers til my posts show up..

michaela de bruce
http://glittersweet.com



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

 

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

 

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

 

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

 

Diane  

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

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

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

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

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

michaela de bruce
http://glittersweet.com




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

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

Susan

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

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

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

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 6, 2006, at 8:47 PM, Land of Oz wrote:

> LADIES, on the other hand, adhered to strict rules of conduct and kept
> their legs together for propriety.  I know there are pictures of
> females riding astride as well as
>
> sideways with their back parallel to
> the right side of the horse and their feet at right angles to the
> horse's left side.
> -------------------------
>
> I've never seen anything depicting this style of riding.  Links ?  I 
> can see where a footman would have to lead a person seated like this, 
> as it would be a little like driving a car from the backseat. This 
> position would put the woman more in the class of cargo, rather than 
> "riding". It would be a form of transportation similar to sitting in a 
> wagon, I'm sure.

Exactly.  A Lady wasn't "able" to do anything without a man to help.  
As far as a link- anyone with medieval knowledge have a sketch showing 
this?
>
> Which is not the same at all as riding side-saddle.  I can't speak to 
> specific time periods but I know I have read descriptions of women 
> wearing breeches or jodhpurs under a "false" skirt that looked and 
> functioned like a skirt when walking, but had a buttoned panel 
> associated with function under saddle.
The Safety Apron was invented over a century ago.  I have seen a 
garment that is a "transition" from full skirt to the modern (Safety) 
apron.  The modern apron is only long enough to cover your backside 
while seated in the sidesaddle.  The "skirt" part is shaped with a dart 
or curved seam to accommodate the upraised knee around the upper 
pommel. The rest of the skirt is long, to just reveal the ankle, when 
on horseback.  When dismounted, the rider buttons the long skirt up, 
sweeping it around her butt, then buttoning it on the right side.  this 
effectively pulls the excess fabric from where it is not necessary to 
where it is definitely necessary, on foot.  All bases are covered.
>
> Also, with the volume of skirts and the layers under the skirts, I 
> can't see where modesty would be a problem when riding sidesaddle.  
> The position is similar sitting on a barstool with the right leg 
> hooked on a high rung, and the left foot very close to the floor. 
> Mounting the horse in public would probably take a *lot* of private 
> practice and a very steady horse, but I'm sure it could be 
> accomplished w/o displaying much more than some inner hem. When horses 
> were primary modes of transportation, mounting blocks were available 
> just about everywhere and that would help a lot!

The "propriety point" is that a LADY did not spread her legs apart.

LADIES had grooms and footmen who did "everything" for them, except 
ride!  A LADY merely appeared and mounted.  Rode, then dismounted.  As 
I understand it, "street clothing" were used for riding until around 
the 18th century.  I know that riding trowsers could be a part of a 
Victorian habit.  At this time, the skirt volume was becoming 
streamlined.  The riding habit is very plain and severe in style.  It 
is often referred to as "mannish".  Later, the safety apron evolved.

Here is a web site that shows some of the changes over time.   
http://www.hoosierladiesaside.com/habits.html
also    http://www.victorianladiesaside.com/gallery/    Mostly US Civil 
War, North, South and Civilian impressions.

As I mentioned, we make the clothing to reflect the times but we are 
eminently aware that this Is the 21st Century.  Safety first when 
riding sidesaddle. We usually don't have a groom to do all the work 
associated with "horsekeeping".  We must change from LADY to WOMAN, 
from upper class to common person- in a flash- then back, again.
>
> I would join an equestrian clothing group!
> Denise
>
> _______________________________________________
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From h-costume-bounces@indra.com  Tue Mar  7 08:35:37 2006
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	<440C87E1.6090209@reddawn.net>
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)
Date: Tue, 7 Mar 2006 08:35:56 -0500
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Ain't modern fabrics a wonder?
Early in my collecting career, I spent days mending and shoring up of a
fragile georgette   to get it to a wearable state (plainly rescued from the
burn barrel).  it was a wonderful pale peach color ornamented with tiny
silver beads and sequins.  When I had done all I could to give it one more
outing I thought I would just dip it in the sink to freshen it.  Ten minutes
later I returned to rinse it and all that remained of the lovely design was
the beads. (No one had yet told me that sequins from just about before WW2
were made of gelatin!
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 06, 2006 2:05 PM
Subject: Re: [h-cost] abuse of fabrics (aka care and washing)


> Leah L Watts wrote:
>
> >
> > I've always suspected "Do Not Wash, Do Not Dry Clean, Spot Clean Only"
> > was a synonym for "We Couldn't Be Bothered To Test This But Don't Want
To
> > Be Held Responsible".
>
> I picked up a gorgeous fully beaded and sequinned evening gown at a
> local thrift shop with just such a tag. It reeked of  "dancing all night
> in a smoky club" but for $4 I took a chance. Laid it in a tub of cold
> water with mild soap and just kind of swished it gently and it came out
> beautifully.
>
> I'm all ready for the palace ball, I just need my glass slippers and the
> invitation from the prince....
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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From h-costume-bounces@indra.com  Tue Mar  7 08:52:41 2006
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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] Sorry for this,
	testing but also latest projects if you are bored.
Date: Tue, 7 Mar 2006 08:57:15 -0500
To: Historical Costume <h-costume@indra.com>
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I wanted to take a look at these costumes, but my server can't seem to 
find your server!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

On Mar 7, 2006, at 3:02 AM, michaela wrote:

> I haven't had my last several emails I posted to the list, and a few 
> before
> that were delayed by several days, not just a few hours. I was 
> wondering if
> others are having the same issue. Then I can narrow down where the 
> problem
> might be. I may just be getting the mail delayed to me, I have no idea 
> when
> they are getting to other people.
>
> I noticed I had a warning about messages bouncing a while back on some 
> list
> and I think it was this one (which is mad as I have had constant 
> uptime with
> this email address and if I'm away will change to digest mode.)
>
> Anyway, if this does go through (9pm Tuesday March 7 NZ time which is 
> +12
> hours GMT) I have recently updated my website with costumes I haven't 
> linked
> from my main page before.
>
> Latest projects are:
> http://costumes.glittersweet.com/phantom/wishing.htm
> Replica of the Blue Dress from the Aussie productions of Phantom of the
> Opera.
>
> http://costumes.glittersweet.com/dracula/2mina.htm
> Red dress from the 1992 movie of Dracula (I also put up a subsection 
> for
> other people's recreations.)
>
> http://costumes.glittersweet.com/sca/k/2cleves.htm
> Bruyn inspired gown from the Cleves/Cologne region. I have finally 
> settled
> on a sort of colour scheme;)
>
> I'm also working on another fully pleated skirt from the 1880s but 
> have yet
> to decide on the style of bodice. I have lots of fabric for a few
> interchangeble styles actually.
>
>
> Twiddling my fingers til my posts show up..
>
> michaela de bruce
> http://glittersweet.com
>
>
>
> -- 
> No virus found in this outgoing message.
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> 6/03/2006
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming and other period tack
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Status: RO

Diane,

Thank you for putting the history in order.

I am fumbling around, looking for information about riding and 
costuming.  You know how it goes.  Research leads to more research.  I 
find myself in interesting side researches, too. That's how I made a 
golfing outfit and learned to decorate a Bustle Hat as wells as, an 
Edwardian hat, made from scratch. Fun things that I never thought I'd 
do. That's how I found and joined this costume list-curiosity.

I'd love to see photos of your saddles and your clothing.  I am so 
impressed!  SCA with all its rich fabrics and equestrian games is 
fascinating.  What brand of saddle do you use for SCA?

Do you know Kate from PA? She does SCA, as well.

Susan (NJ)

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 6, 2006, at 10:28 PM, Diane Maynard wrote:

> I am going to attempt to put in short version a very long 
> subject------First
> of all, the Victorian idea of modesty is just that---Victorian.   Most
> periods before this time frame did not have the "modesty" that we 
> refer to
> and women (and Ladies) that rode and controlled their own horse would 
> ride
> astride.  Women that were traveling but, did not "Ride" would travel by
> Pillion saddle.  This is a saddle that sits the rider totally side 
> ways on
> the horse with a platform under the feet.  There are numerous 
> references,
> paintings, and tapestries that depict this style of travel for women.  
> When
> traveling like this, there is usually a groom to lead and control the 
> horse
> that the woman is on top of.  By the 16 th century, Catherine de Medici
> began to ride "Side-Saddle" for hunting.  She actually took her 
> husband's
> hunting saddle and threw her leg over the front horn.  By doing this, 
> she
> was actually still facing forward while both legs were on the same 
> side.
> Elizabeth I copied her style and also rode "side-saddle".  There is 
> what is
> considered one of Elizabeth I 's side saddles in one of the London 
> museums.
> Although considered quite an accomplished rider and well verse in 
> hunting,
> when doing a parade or any public display, Queen Elizabeth I was 
> normally
> being led to insure nothing could happen to endanger her. There are 
> also
> accounts of Queen Elizabeth I wearing her Farthingale and that they 
> were so
> large as to dwarf the mount she was riding.  There are numerous 
> portraits of
> Ladies and Queens riding astride through the 17 th century.  It is not 
> until
> the Victorian time frame that it becomes extremely improper for a Lady 
> to
> ride astride.
>
>
>
> Why ride side saddle?  Clothes.  One can wear a skirt with a much 
> smaller
> circumference if they are riding side saddle.  To make a skirt that 
> looks
> good and covers the rider's leg when riding astride takes a minimum of 
> 7
> yards.  I can make a side saddle skirt in 4 yards.
>
>
>
> In case no one can tell----I find the history of the side saddle 
> fascinating
> and I also ride side-saddle. I also used to give jumping demos 
> side-saddle
> and I ride the SCA Equestrian games side saddle.   I have run rings, 
> hit
> quintains, etc. all in my side saddle and wearing my full Elizabethan 
> gowns
> (and won).  I currently own two modern jumping side saddles and one 
> 1846
> antique western side saddle that I bought from the family it was 
> originally
> made for.
>
>
>
> Sorry----my post got longer than I anticipated,
>
>
>
> Diane
>
> _______________________________________________
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Tue, 7 Mar 2006 08:58:02 -0500
To: Historical Costume <h-costume@indra.com>
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<<I have some images from 16thC woodcuts, and I think the tapestry of  
Maximilian shows Maria of Hungary riding like this (though the view is  
from the back so
> it's a bit hard to tell.)
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammanwomanonhorsebackholdingfan.jpg
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammonmanandwomanhavingaconversationonhorseback.jpg
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammonwomanonhoresback.jpg
 >>

Perfect!    Thanks.  The first link shows the front.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 7, 2006, at 12:11 AM, michaela wrote:

>> sideways with their back parallel to
>> the right side of the horse and their feet at right angles to the
>> horse's left side.
>
>> I've never seen anything depicting this style of riding.  Links ?  I  
>> can
> see
>> where a footman would have to lead a person seated like this, as it  
>> would
> be
>> a little like driving a car from the backseat. This position would  
>> put the
>> woman more in the class of cargo, rather than "riding". It would be a  
>> form
>> of transportation similar to sitting in a wagon, I'm sure.
>
> I have some images from 16thC woodcuts, and I think the tapestry of
> Maximilian
> shows Maria of Hungary riding like this (though the view is from the  
> back so
> it's a bit hard to tell.)
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammanwomanonhorsebackholdingfan.jpg
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammonmanandwomanhavingaconversationonhorseback.jpg
> http://img.photobucket.com/albums/v609/glittersweet/frau/ 
> ammonwomanonhoresback.jpg
>
> Sorry I don't have the folder public, so if the links are broken try  
> this:
> http://photobucket.com/albums/v609/glittersweet/frau/
> Then pasting the file names individually:
> ammanwomanonhorsebackholdingfan.jpg
> ammonmanandwomanhavingaconversationonhorseback.jpg
> ammonwomanonhoresback.jpg
>
> Certainly a less than comfortable ride if you want to face forward!
>
> michaela de bruce
> http://glittersweet.com
>
>
>
>
> -- 
> No virus found in this outgoing message.
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> 6/03/2006
>
> _______________________________________________
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> h-costume@mail.indra.com
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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: [h-cost] Producing Shakespeare (some choice costume notes!)
Date: Tue, 7 Mar 2006 09:24:53 -0500
To: Historical Costume <h-costume@indra.com>
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A colleague sent me this link. It's how-NOT-to tips about Shakespeare 
productions, many concerning costumes, most or all evidently written 
from experience. Give yourself plenty of time to absorb, reflect, howl 
with laughter.

http://angevin2.livejournal.com/148520.html


--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

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	testing but also latest projects if you are bored.
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Speaking of servers not liking people, does anyone know if Saragrace Knauf's 
website has up and died away completely, or if it's just hibernating?

-E House 

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Subject: Re: [h-cost] The Change & Hand Fans
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> Okay ladies... how many of you have had hot flashes and found that your
hand
> fans are your new best friend?

Me, Me!

"Is it hot in here?"

"I don't know, ask someone younger. "

Margo

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From: "Jeanine E. Swick" <jeanine@woollycat.net>
Subject: Re: [h-cost] Cossack coat
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Amazon Dry Goods still has some in stock.  It is pattern number 502. 

Jeanine

Lynn Downward wrote:

>Is Folkwear's Cossack pattern still available?
>
>LynnD
>
>
>On 2/25/06, Five Rivers Chapmanry <lgsteph@wightman.ca> wrote:
>  
>
>>           Speaking of making your own clothes, it has been my desire for
>>some time to make myself a new winter coat, one which is fashionable and
>>warm, something to go with the stunning sable and mink Russian style hat I
>>have.
>>
>>
>>
>>           Does anyone have any idea where I might be able to find a
>>pattern, or photos, of these wonderful coats? I've searched the net for
>>days
>>on end to no avail. I can't find that big-skirted, wide collared coat with
>>the huge cuffs I so have loved for years.
>>
>>
>>
>>Regards,
>>
>>Lorina
>>
>>Five Rivers Chapmanry
>>
>>purveyors of historical sewing patterns, quality hand-crafted cooperage,
>>re-enactor and embroidery supplies, and more.
>>
>>519-799-5577 info@5rivers.org - www.5rivers.org
>>
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>    
>>
>_______________________________________________
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>
>  
>
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Splendid pictures! I love the middle one on the second row; it looks like a painting by Joseph Wright ( the famous artist from my home town of Derby who specialised in, among other things, candlelight scenes). See http://www.mezzo-mondo.com/arts/mm/wright/WRJ014.html 


Kate Bunting
Librarian and 17th century reenactor

>>> drewscph@post12.tele.dk 06/03/2006 20:27 >>>
Hi,
Shameless of me, i uploaded the first clickable pictures with the ones of 
myself. Its so seldom i had any pictures of me wearing the blue suit, and 
also my humble mundane.
http://www.my-drewscostumes.dk/soiredhiver3.htm 
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk 

http://home0.inet.tele.dk/drewscph/ 


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From h-costume-bounces@indra.com  Tue Mar  7 13:48:07 2006
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Date: Tue, 7 Mar 2006 18:44:06 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Funny Nail Polish Colors
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Fantastic!  I'm busy decorating - this makes such a welcome change from 
"sorbet" and "mist" and "spice".

I'm disappointed with My Chihuahua Bites, though - I think it should be 
poison green.  I was traumatised as a child by a ballet examiner with 
bright green nail polish and a small dog under the desk.

Jean


Penny Ladnier <penny@costumegallery.com> wrote
>I am always looking for funny color names.  OPI has some 2006 nail 
>polish colors names!  Check these out:
>Reds:
>*** I'm Not Really a Waitress
>*** Nice Color, Eh?
>*** O'Hare & Nails Look Great!
>*** SoHo Nice to Meet You
>*** You Rock-apulco Red
>*** My Chihuahua Bites! (my favorite)
>
>To view all their color names go to http://www.opi.com/
>
>Penny E. Ladnier
>Owner,
>The Costume Gallery, www.costumegallery.com
>Costume Classroom, www.costumeclassroom.com
>Costume Research Library, www.costumelibrary.com
>_______________________________________________
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-- 
Jean Waddie
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Dear Kate,
Thanks, this is not a picture i took, but you are right, it has a very nice 
lightening in it. I make a mistake by using flash i know, but i have tryed 
to not use flash with my digital camera, and the pictures gets very dark. I 
want people to be able to see the costumes, and therefore i use flash.
I am very pleased if some of you like the pictures, it was a real nice 
weekend.

Bjarne
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Tuesday, March 07, 2006 6:47 PM
Subject: Re: [h-cost] soirée d´hiver more pictures


> Splendid pictures! I love the middle one on the second row; it looks like 
> a painting by Joseph Wright ( the famous artist from my home town of Derby 
> who specialised in, among other things, candlelight scenes). See 
> http://www.mezzo-mondo.com/arts/mm/wright/WRJ014.html
>
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> drewscph@post12.tele.dk 06/03/2006 20:27 >>>
> Hi,
> Shameless of me, i uploaded the first clickable pictures with the ones of
> myself. Its so seldom i had any pictures of me wearing the blue suit, and
> also my humble mundane.
> http://www.my-drewscostumes.dk/soiredhiver3.htm
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> ______________________________________________________________________
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> 


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How do I access the archives?  I'd look to see if any advice has been
offered in the past, but I have no idea where to look.

I'll be heading to Europe in late June / early July, and like to know if
there are any good women's clothing collections in the cities I'll be
visiting.  I'm interested primarily in 18th century.

I'll be visiting Munich, Venice and Paris.

Thanks for your help!

Kristin
(costuming novice, but sewing since childhood)
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT - Archives, Costume exhibits overseas...
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On Tue, 7 Mar 2006, Kristin wrote:

> How do I access the archives?  I'd look to see if any advice has been
> offered in the past, but I have no idea where to look.

The closest thing we have to an archive is here, thanks to the faithful
efforts of listmember Eric Praetzel:

http://sca.uwaterloo.ca/~fashion/archives/

But your question is worth asking fresh. Exhibits change all the time.

--Robin

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To: "Historical Costume" <h-costume@indra.com>
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	<001901c64201$bd17ec60$e72a5142@dnyeaqvf>
Subject: Re: [h-cost] The Change & Hand Fans
Date: Tue, 7 Mar 2006 17:01:21 -0500
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>> Okay ladies... how many of you have had hot flashes and found that your
> hand
>> fans are your new best friend?
> 
> Me, Me!
> 
> "Is it hot in here?"
> 
> "I don't know, ask someone younger. "
> 
> Margo

I'm no good, even if I *am* younger. I'm always cold :-)

"Is it cold in here?"

"I don't know, ask someone normal."
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Date: Tue, 07 Mar 2006 17:03:41 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Funny Nail Polish Colors
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Personally I would love some of those Elizabethan colors: Dead Spaniard and
Dirty Isabella come to mind... :-)

Monica Spence

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Jean Waddie
Sent: Tuesday, March 07, 2006 1:44 PM
To: Historical Costume
Subject: Re: [h-cost] Funny Nail Polish Colors


Fantastic!  I'm busy decorating - this makes such a welcome change from
"sorbet" and "mist" and "spice".

I'm disappointed with My Chihuahua Bites, though - I think it should be
poison green.  I was traumatised as a child by a ballet examiner with
bright green nail polish and a small dog under the desk.

Jean


Penny Ladnier <penny@costumegallery.com> wrote
>I am always looking for funny color names.  OPI has some 2006 nail
>polish colors names!  Check these out:
>Reds:
>*** I'm Not Really a Waitress
>*** Nice Color, Eh?
>*** O'Hare & Nails Look Great!
>*** SoHo Nice to Meet You
>*** You Rock-apulco Red
>*** My Chihuahua Bites! (my favorite)
>
>To view all their color names go to http://www.opi.com/
>
>Penny E. Ladnier
>Owner,
>The Costume Gallery, www.costumegallery.com
>Costume Classroom, www.costumeclassroom.com
>Costume Research Library, www.costumelibrary.com
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

--
Jean Waddie
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Date: Tue, 07 Mar 2006 17:05:26 -0500
From: monica spence <monicaspence@optonline.net>
In-reply-to: <Pine.LNX.4.10.10603071526220.24903-100000@shell.nightowl.net>
To: Laurel <discuss-laurel@lists.eastkingdom.org>,
        Maunche <discuss-maunche@lists.eastkingdom.org>,
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Hi all-- 
This was just on my email  list for the Costume Society of America.
Regards- 
Monica Spence 
(Catriona MacDuff in the SCA)


NEW ONLINE RESOURCE

A new research resource for 16th Century dress is now
online. A pilot database of images is available at:
http://www.jmdsrv1.dyndns.org/tudoreffigies. Compiled by Dr.
JANE MALCOLM-DAVIES [International Region VIII] of the
Winchester School of Art, this is the first stage of a
proposed project to photograph and disseminate images of
Tudor effigies in UK churches. The pilot database contains
44 effigies with photographs of items and features of dress.
This represents about two per cent of the material that
could be compiled. Eventually, each effigy and its details
will have a description with appropriate 16th Century terms
and an explanation of how they were worn. Feedback on the
database will help with continued funding for the project.
Please visit
http://www.jmdsrv1.dyndns.org/tudoreffigies and send
comments to: mailto:jane@jmdandco.com.

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Margo,

Have you seen the new commercial about women and hot flashes.  They are so 
funny.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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	<00c301c64232$ac1cbb80$0302a8c0@p4audrey>
Subject: Re: [h-cost] The Change & Hand Fans
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Audrey,

I was cold for years.  But when the change hit it is the opposite.  I was 
driving down the highway this morning with the windows down... it was 30 
degrees outside.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: Re: [h-cost] Funny Nail Polish Colors
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Monica,

I haven't heard of dirty Isabella as a color name before.  What source did 
you use to find that name?

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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References: <20060306.061012.1840.0.LLWatts@juno.com>
	<00c101c641bd$75ff5550$0401010a@michaela>
Subject: Re: [h-cost] Sorry for this,
	testing but also latest projects if you are bored.
Date: Wed, 8 Mar 2006 00:27:07 +0100
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Hi Michaela,
Thanks for posting the links. I enjoyed it very much. Loved your bustle 
dresses, and how the h.......did you make that picture with changeable 
colours?
Very impressive!!!

Bjarne

----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 07, 2006 9:02 AM
Subject: [h-cost] Sorry for this,testing but also latest projects if you are 
bored.


>I haven't had my last several emails I posted to the list, and a few before
> that were delayed by several days, not just a few hours. I was wondering 
> if
> others are having the same issue. Then I can narrow down where the problem
> might be. I may just be getting the mail delayed to me, I have no idea 
> when
> they are getting to other people.
>
> I noticed I had a warning about messages bouncing a while back on some 
> list
> and I think it was this one (which is mad as I have had constant uptime 
> with
> this email address and if I'm away will change to digest mode.)
>
> Anyway, if this does go through (9pm Tuesday March 7 NZ time which is +12
> hours GMT) I have recently updated my website with costumes I haven't 
> linked
> from my main page before.
>
> Latest projects are:
> http://costumes.glittersweet.com/phantom/wishing.htm
> Replica of the Blue Dress from the Aussie productions of Phantom of the
> Opera.
>
> http://costumes.glittersweet.com/dracula/2mina.htm
> Red dress from the 1992 movie of Dracula (I also put up a subsection for
> other people's recreations.)
>
> http://costumes.glittersweet.com/sca/k/2cleves.htm
> Bruyn inspired gown from the Cleves/Cologne region. I have finally settled
> on a sort of colour scheme;)
>
> I'm also working on another fully pleated skirt from the 1880s but have 
> yet
> to decide on the style of bodice. I have lots of fabric for a few
> interchangeble styles actually.
>
>
> Twiddling my fingers til my posts show up..
>
> michaela de bruce
> http://glittersweet.com
>
>
>
> -- 
> No virus found in this outgoing message.
> Checked by AVG Free Edition.
> Version: 7.1.375 / Virus Database: 268.2.0/275 - Release Date: 6/03/2006
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Equestrian costuming and other period tack
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Here are a couple from the 17th century, courtesy of Web Gallery of Art:

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Isabel of Bourbon Equestrian
1634-35
Oil on canvas, 301 x 314 cm
Museo del Prado, Madrid
http://www.wga.hu/art/v/velazque/05/0506vela.jpg

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Margarita on Horseback
1634-35
Oil on canvas, 297 x 309 cm
Museo del Prado, Madrid
http://www.wga.hu/art/v/velazque/05/0503vela.jpg

It's really hard for me to tell whether they're riding astride or 
sidesaddle, but perhaps someone with more equestrian experience could 
venture.

Melanie Schuessler
http://www.faucet.net/costume

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From: "Diane Maynard" <camelothorse@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Equestrian costuming and other period tack
Date: Tue, 7 Mar 2006 19:08:23 -0600
Organization: Camelot Horse Center
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I can tell you that that I believe that BOTH of these paintings are of women
riding ASTRIDE.   These are two of my favorite paintings and I have
duplicated both of these gowns for myself.  It takes a LOT of material to
make the skirts of these gowns.  If one is riding side-saddle, the gown will
not "envelope" the hind quarters of the horse the way these gowns do.  I
side saddle gown will literally hang to the side of the legs (covering the
legs)and not cover the hindquarters of the horse.

Diane


VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Isabel of Bourbon Equestrian
1634-35
Oil on canvas, 301 x 314 cm
Museo del Prado, Madrid
http://www.wga.hu/art/v/velazque/05/0506vela.jpg

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Margarita on Horseback
1634-35
Oil on canvas, 297 x 309 cm
Museo del Prado, Madrid
http://www.wga.hu/art/v/velazque/05/0503vela.jpg

It's really hard for me to tell whether they're riding astride or 
sidesaddle, but perhaps someone with more equestrian experience could 
venture.




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Bjarne:

These pictures are lovely, and how nice to see so many of you! I am curious
about the event. Are you all in the same Society? How do you know each
other? Are you from different countries, and if so what language(s) do you
speak when you are all together?

That military uniform (I think it is one) is just so gorgeous! And the
picture of you dancing with the girl in red -- she looks so perfect. It must
have been a wonderful weekend. Who cooked?

Gail Finke

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Date: Tue, 7 Mar 2006 19:35:54 -0800 (PST)
From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
To: Historical Costume <h-costume@indra.com>
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Spreading the legs apart when they are decently
covered with long skirts is perfectly okay.  

Ruth M. Green, in her "Wearing of Costume", mentions
that keeping the legs together in long skirts is not
particularly decent nor is it necessary.  
The eighteenth century in particular showed the 'broad
lap'.  
The nineteenth century Huck Finn was caught out when
cross-dressing--a girl would spread her legs to let
her skirt catch something thrown, while Huck, used to
pants, closed his legs to catch something.

It wasn't until the short skirts of the twentieth
century that it became "not Nice" for a girl to have
her legs apart.

Mistakes mine; it's been a while since I read Ms.
Green's book.  Or Huck Finn.

Ann in CT

--- Susan Data-Samtak <pasovasz@aol.com> wrote:
>The "propriety point" is that a LADY did not spread
> her legs apart.
> 
> Susan


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Change & Hand Fans
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Quoting Audrey Bergeron-Morin <audreybmorin@gmail.com>:

>>> Okay ladies... how many of you have had hot flashes and found that your
>> hand
>>> fans are your new best friend?
>>
>> Me, Me!
>>
>> "Is it hot in here?"
>>
>> "I don't know, ask someone younger. "
>>
>> Margo
>
> I'm no good, even if I *am* younger. I'm always cold :-)
>
> "Is it cold in here?"
>
> "I don't know, ask someone normal."

And you *really* know that you've got problems when your always "cold"
except when you're having a hot flash.

*sigh*

At least they've gone!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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I'm looking for more online galleries like The Web Gallery of Art at 
wga.hu, sites with a large collection of searchable images and 
information about those images. Can anyone suggest some new sites to 
visit? I'm increasingly frustrated with museum sites that list little 
more than the accession number along with a thumbnail. I really want to 
be able to see the art in detail and read about the artist or the subject.


Dawn


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Date: Tue, 7 Mar 2006 20:54:17 -0800
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I usually wash as much as possible, however, washing polished cotton has
resulted in the "polish" washing out, and stiff taffeta got limp and
wrinkly. I wash my cotton velvet Renaissance costume and the silk
sleeves/forepart. Also dry in dryer until just damp.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Chris Laning
Sent: Sunday, March 05, 2006 12:21 PM
To: Historical Costume
Subject: RE: [h-cost] abuse of fabrics (aka care and washing) question


At 10:40 AM -0600 3/5/06, Betsy Marshall wrote:
>My information is that dry cleaning helps preserve the fabric 
>treatments used by the manufacturer- either fabric or clothing 
>processes; so fabric of wool, linen, silk or combinations thereof, 
>_can_ be washed, just be prepared for the size/hand/texture to change. 
>(Personally I toss it all in the washer on cold and let the chips, er, 
>scraps fall where they may.)

My philosophy is to give the finished garment a cleaning treatment 
that's one step gentler than the washing I gave the fabric before I 
cut it out. I pretty much machine wash all yardage as soon as I get 
it home and the edges zigzagged.

This has worked a lot better for some things than others. I've not 
had any problems with linen or silk, but I've learned to be more 
careful about wool, especially about tumble drying it. I had a wool 
Elizabethan gown (and I can now boast that it was custom-made for me 
by Margo -- yes, THAT Margo, of Margo's patterns <g>) and she washed 
my wool yardage on hot, _three_ times before she cut it out. And I 
washed it on cold and dried it on barely lukewarm, and it DID shrink, 
almost three inches in length after half a dozen washings. :(
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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The program for CC 24 is currently in development.  It is typical 
that the program is not finalized until a month or so before the 
convention.  If there is something that you would particularly like 
to see, or something you would like to present, now is the time to 
contact our program director, Sheril Harper, at:  programming@epicmovies.org
Or you can contact us and we'll forward it to her.

BTW, we very likely will be doing the chemical and burn test panel 
that has been discussed here in the past.

Sandy

At 09:28 PM 3/6/2006, you wrote:
>Date: Mon, 06 Mar 2006 16:16:28 -0600
>From: Dawn <dawn@reddawn.net>
>Subject: [h-cost] CostumeCon
>
>I was wondering who all from the list was thinking of going. Or who
>would be lecturing there. Anyone?
>
>I notice that there's still next to no info available on the website,
>just a couple months out now, and I was wondering if I should be
>worried. Or do these things always pull themselves together at the last
>minute? I can already find thorough information on other events much
>later in the summer and I'm getting concerned because I have no idea
>what to expect from CostumeCon. I'm thinking I ought to reserve a hotel
>room pretty soon, if I'm going.
>
>Dawn

"Those Who Fail To Learn History
Are Doomed to Repeat It;
Those Who Fail To Learn History Correctly --
Why They Are Simply Doomed.

Achemdro'hm
"The Illusion of Historical Fact"
  -- C.Y. 4971

Andromeda  


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming and other period tack
Date: Wed, 8 Mar 2006 00:35:04 -0500
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Thank you Melanie.

The clothing is breathtaking.  I can't see the Queen riding at any gait 
faster than a walk without having the horse get tangled in all the 
heavy drapery.

I cannot tell if she is riding sidesaddle, either.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 7, 2006, at 8:15 PM, Melanie Schuessler wrote:

> Here are a couple from the 17th century, courtesy of Web Gallery of 
> Art:
>
> VELÁZQUEZ, Diego Rodriguez de Silva y
> Queen Isabel of Bourbon Equestrian
> 1634-35
> Oil on canvas, 301 x 314 cm
> Museo del Prado, Madrid
> http://www.wga.hu/art/v/velazque/05/0506vela.jpg
>
> VELÁZQUEZ, Diego Rodriguez de Silva y
> Queen Margarita on Horseback
> 1634-35
> Oil on canvas, 297 x 309 cm
> Museo del Prado, Madrid
> http://www.wga.hu/art/v/velazque/05/0503vela.jpg
>
> It's really hard for me to tell whether they're riding astride or 
> sidesaddle, but perhaps someone with more equestrian experience could 
> venture.
>
> Melanie Schuessler
> http://www.faucet.net/costume
>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"


> Spreading the legs apart when they are decently
> covered with long skirts is perfectly okay.
>
> Ruth M. Green, in her "Wearing of Costume", mentions
> that keeping the legs together in long skirts is not
> particularly decent nor is it necessary.
> The eighteenth century in particular showed the 'broad
> lap'.
> Ann in CT

Not only was it ok, but in some styles it was practically impossible to sit 
with the legs together.  I wear 1630's French clothing a lot, and with the 
long stomachers on the dresses, sitting with my legs apart is manditory. 
I've also got more than a few pictures of women riding astride from this 
period, including some who rode into combat during the 30 years and English 
Civil Wars.

Melusine 

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] The Change & Hand Fans
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A comedy sketch show on BBC Radio 4 had a running gag about a middle-aged superwoman figure who arrived saying "Is it me, or is it hot in here?", but was able to solve problems by knowing things that younger people don't (such as having the multiplication tables in her head).

Kate Bunting
Librarian and 17th century reenactor


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From h-costume-bounces@indra.com  Wed Mar  8 05:48:01 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <C033C3E7.1CDB0%gailscott@eos.net>
Subject: Re: [h-cost] Re: soiredhiver
Date: Wed, 8 Mar 2006 11:47:32 +0100
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Hi Gail.
Most of the people, i know from Gustavs Skål (the swedish gustavian society) 
We are spread out in Europe and the german friends came to Mauritia (Reinnes 
des Centfeuilles) They are willing to travel far to get to events like me 
coming from Denmark.
Mauritia has a big house, and she generously opened it for us all to come as 
we liked for 3 days.
Mauritia and her daughter Kim, cooked all the wonderfull food, baked bread 
set the table and so on. Saturday we went for an outing to an old castle, 
and afterwards we drove into the woods to a small inn, where Mauritia had 
ordered a lunch for us. Wonderfull red dear roast. This was the only thing 
we payed for individually, all the rest was free.
The uniform is very nice, its a preussian officers uniform. And the girl in 
red also wore the green redingote in front of the castle, and the yellow 
servantgirls outfit. She is a very tallented young girl, and i am sure you 
will hear more from here in the future. When i was her age, i didnt have 
half the tallent as she has. My favourite was her green redingote with a 
huge hat, it was so lovely.

Bjarne
----- Original Messag ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Wednesday, March 08, 2006 4:12 AM
Subject: [h-cost] Re: soiredhiver


>
> Bjarne:
>
> These pictures are lovely, and how nice to see so many of you! I am 
> curious
> about the event. Are you all in the same Society? How do you know each
> other? Are you from different countries, and if so what language(s) do you
> speak when you are all together?
>
> That military uniform (I think it is one) is just so gorgeous! And the
> picture of you dancing with the girl in red -- she looks so perfect. It 
> must
> have been a wonderful weekend. Who cooked?
>
> Gail Finke
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Wed Mar  8 07:45:41 2006
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Subject: Re: [h-cost] looking for sources of art
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CGFA and Olga's Gallery are good general sites:
http://cgfa.dotsrc.org/
http://www.abcgallery.com/index.html

If you're looking for works by a particular artist, or you know the 
title of a work but not the artist, try Artcyclopedia:
http://www.artcyclopedia.com/

Happy searching,
Melanie Schuessler
http://www.faucet.net/costume



Dawn wrote:
> I'm looking for more online galleries like The Web Gallery of Art at 
> wga.hu, sites with a large collection of searchable images and 
> information about those images. Can anyone suggest some new sites to 
> visit? I'm increasingly frustrated with museum sites that list little 
> more than the accession number along with a thumbnail. I really want to 
> be able to see the art in detail and read about the artist or the subject.
> 
> 
> Dawn
> 
> 
> _______________________________________________
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> 
> 



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To: h-costume@indra.com
Date: Wed, 8 Mar 2006 08:41:46 -0600
Subject: Re: [h-cost] Equestrian costuming and other period tack
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I'm not an expert on equestrian costume or riding side-saddle, but I
think these ladies ARE riding side-saddle. I can see the subtle outline
of the right leg wrapped around the saddle horn with the left leg hanging
more or less vertically. As for the skirt spreading, I have seen it done.
At Bristol, Mary Kababik, who plays Queen Elizabeth, has ridden in the
main parade on a side-saddle for the last 5 years and with the amount of
fabric in her skirt it looks almost exactly like that. In this painting
the ladies aren't riding perpendicular to the horse, they are riding more
or less parallel wi the horse with their lower body turned slightly to
the side. 

Just my ha'penny's worth,

Karen
Seamstrix




On Tue, 7 Mar 2006 19:08:23 -0600 "Diane Maynard"
<camelothorse@earthlink.net> writes:
> I can tell you that that I believe that BOTH of these paintings are 
> of women
> riding ASTRIDE.   These are two of my favorite paintings and I have
> duplicated both of these gowns for myself.  It takes a LOT of 
> material to
> make the skirts of these gowns.  If one is riding side-saddle, the 
> gown will
> not "envelope" the hind quarters of the horse the way these gowns 
> do.  I
> side saddle gown will literally hang to the side of the legs 
> (covering the
> legs)and not cover the hindquarters of the horse.
> 
> Diane
> 
> 
> VELÁZQUEZ, Diego Rodriguez de Silva y
> Queen Isabel of Bourbon Equestrian
> 1634-35
> Oil on canvas, 301 x 314 cm
> Museo del Prado, Madrid
> http://www.wga.hu/art/v/velazque/05/0506vela.jpg
> 
> VELÁZQUEZ, Diego Rodriguez de Silva y
> Queen Margarita on Horseback
> 1634-35
> Oil on canvas, 297 x 309 cm
> Museo del Prado, Madrid
> http://www.wga.hu/art/v/velazque/05/0503vela.jpg
> 
> It's really hard for me to tell whether they're riding astride or 
> sidesaddle, but perhaps someone with more equestrian experience 
> could 
> venture.
> 
> 
> 
> 
> _______________________________________________
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> 
> 
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: Re: [h-cost] The Change & Hand Fans
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Quoting Kate M Bunting <K.M.Bunting@derby.ac.uk>:

> A comedy sketch show on BBC Radio 4 had a running gag about a 
> middle-aged superwoman figure who arrived saying "Is it me, or is it 
> hot in here?", but was able to solve problems by knowing things that 
> younger people don't (such as having the multiplication tables in her 
> head).

That's good!

Just remember, Ladies, they're not Hot Flashes, they're Power Surges!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: [h-cost] Re: Equestrian costuming and other period tack
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In both of these paintings, there seems to be a piece of cloth covering the horse to its ankles underneath the ladies' gowns. Was this a standard part of saddlery, or was it specific to lady riders? (To protect their skirts, maybe?)
 
Tea Rose, who has ridden horses exactly twice in her life
 
************************************************************
From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost] Equestrian costuming and other period tack
Here are a couple from the 17th century, courtesy of Web Gallery of Art:

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Isabel of Bourbon Equestrian
http://www.wga.hu/art/v/velazque/05/0506vela.jpg

VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Margarita on Horseback
http://www.wga.hu/art/v/velazque/05/0503vela.jpg
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Wed, 8 Mar 2006 11:33:00 -0500
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Thanks, Melusine.

 From what I've learned, so far, riding clothes were not very different 
from regular clothes until rather recently.  Sidesaddles are also a 
recent invention.  I've heard that sidesaddles, as we understand the 
term, did not exist prior to about 1800.  I don't know if that is true.

  I've also heard that many of the "conventions" followed by sidesaddle 
riders today, using english style sidesaddles, go back to Victorian 
times when so much of life was codified.  One example that was pointed 
out to me: black gloves are appropriate to use for US Rev War 
impressions, but definitely not for US Civil War, because Victorians 
used black gloves as part of their mourning attire and "A Lady would 
not be riding if she were in mourning.  A Lady would stay at home, or 
be driven in a carriage."  Can anyone confirm such a statement?

As you can see, I have a lot to learn.  I am first and foremost 
interested in my horse.  The rest of the costuming and tack are all 
newer areas to me and so much fun!

Thanks for all your input.

I'm sure it comes as no surprise that some of our 21st century women 
riding sidesaddle think it is OK to zip themselves into a polyester 
costume.  Others want to know more.  Some of us want to ride, look 
appropriate, yet be safe with all that our current century throws at 
us.  I consider myself to be in that last category.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 1:55 AM, Carmen Beaudry wrote:

> Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>
>> Spreading the legs apart when they are decently
>> covered with long skirts is perfectly okay.
>>
>> Ruth M. Green, in her "Wearing of Costume", mentions
>> that keeping the legs together in long skirts is not
>> particularly decent nor is it necessary.
>> The eighteenth century in particular showed the 'broad
>> lap'.
>> Ann in CT
>
> Not only was it ok, but in some styles it was practically impossible 
> to sit with the legs together.  I wear 1630's French clothing a lot, 
> and with the long stomachers on the dresses, sitting with my legs 
> apart is manditory. I've also got more than a few pictures of women 
> riding astride from this period, including some who rode into combat 
> during the 30 years and English Civil Wars.
>
> Melusine
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Subject: Re: [h-cost] Equestrian costuming and other period tack
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And just to confuse things, Catherine II is definitely riding astride  
in this painting in the 1700's.

<http://www.allposters.com/-sp/Equestrian-Portrait-of-Catherine-II 
-1729-96-the-Great-of-Russia-Posters_i1348988_.htm>>

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 9:41 AM, Karen R Bergquist wrote:

> I'm not an expert on equestrian costume or riding side-saddle, but I
> think these ladies ARE riding side-saddle. I can see the subtle outline
> of the right leg wrapped around the saddle horn with the left leg  
> hanging
> more or less vertically. As for the skirt spreading, I have seen it  
> done.
> At Bristol, Mary Kababik, who plays Queen Elizabeth, has ridden in the
> main parade on a side-saddle for the last 5 years and with the amount  
> of
> fabric in her skirt it looks almost exactly like that. In this painting
> the ladies aren't riding perpendicular to the horse, they are riding  
> more
> or less parallel wi the horse with their lower body turned slightly to
> the side.
>
> Just my ha'penny's worth,
>
> Karen
> Seamstrix
>
>
>
>
> On Tue, 7 Mar 2006 19:08:23 -0600 "Diane Maynard"
> <camelothorse@earthlink.net> writes:
>> I can tell you that that I believe that BOTH of these paintings are
>> of women
>> riding ASTRIDE.   These are two of my favorite paintings and I have
>> duplicated both of these gowns for myself.  It takes a LOT of
>> material to
>> make the skirts of these gowns.  If one is riding side-saddle, the
>> gown will
>> not "envelope" the hind quarters of the horse the way these gowns
>> do.  I
>> side saddle gown will literally hang to the side of the legs
>> (covering the
>> legs)and not cover the hindquarters of the horse.
>>
>> Diane
>>
>>
>> VELÁZQUEZ, Diego Rodriguez de Silva y
>> Queen Isabel of Bourbon Equestrian
>> 1634-35
>> Oil on canvas, 301 x 314 cm
>> Museo del Prado, Madrid
>> http://www.wga.hu/art/v/velazque/05/0506vela.jpg
>>
>> VELÁZQUEZ, Diego Rodriguez de Silva y
>> Queen Margarita on Horseback
>> 1634-35
>> Oil on canvas, 297 x 309 cm
>> Museo del Prado, Madrid
>> http://www.wga.hu/art/v/velazque/05/0503vela.jpg
>>
>> It's really hard for me to tell whether they're riding astride or
>> sidesaddle, but perhaps someone with more equestrian experience
>> could
>> venture.
>>
>>
>>
>>
>> _______________________________________________
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>> h-costume@mail.indra.com
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>>
>>
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Subject: [h-cost] Fans 
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All this talk of fans has reminded me that "Cool: Presenting a Cooling Image 
- Fans from The Fan Museum and Portraits from the Lafayette Photographic 
Archive at the V&A" is on at the Fan Museum (London, UK) until 26 March, in 
case anyone's interested.

http://www.fan-museum.org/exhibdetails.asp?exhibID=9


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Date: Wed, 8 Mar 2006 01:12:21 -0500
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Thanks, Ann.

Pays to ask questions or be corrected when incorrect.  I was under the 
impression that a lady never spread her legs apart, regardless of the 
layers that covered her.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 7, 2006, at 10:35 PM, Ann Catelli wrote:

> Spreading the legs apart when they are decently
> covered with long skirts is perfectly okay.
>
> Ruth M. Green, in her "Wearing of Costume", mentions
> that keeping the legs together in long skirts is not
> particularly decent nor is it necessary.
> The eighteenth century in particular showed the 'broad
> lap'.
> The nineteenth century Huck Finn was caught out when
> cross-dressing--a girl would spread her legs to let
> her skirt catch something thrown, while Huck, used to
> pants, closed his legs to catch something.
>
> It wasn't until the short skirts of the twentieth
> century that it became "not Nice" for a girl to have
> her legs apart.
>
> Mistakes mine; it's been a while since I read Ms.
> Green's book.  Or Huck Finn.
>
> Ann in CT
>
> --- Susan Data-Samtak <pasovasz@aol.com> wrote:
>> The "propriety point" is that a LADY did not spread
>> her legs apart.
>>
>> Susan
>
>
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I don't think there is anything quite like the Web Gallery of Art.  However, here are some good art sites.

http://marquise.de/index.html   This site won't tell you about the art, but the blow-ups are fair size and all the pictures are of costume.

http://www.enluminures.culture.fr/   The French have a massive data-base of manuscript illuminations.  The size of the image varies - often detail shots are available.  It can be searched by subject.

http://cgfa.dotsrc.org/index.html    This is similar to the Web Gallery of Art although not as complete.

http://www.bergerfoundation.ch/    I haven't used this site much.  The image quality is uneven but has some obscure things.

http://www.abcgallery.com/index.html    This is another site I haven't used much as it doesn't have a big selection in medieval and renaissance art.  On the other hand, their 18th cen. list of artists looks pretty extensive.

Janet
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Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
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With what I have read and seen in paintings during the past few years of my own research; I've only seen women on horses with that cloth covering.  What a saddle blanket!  Now, I do want to add that not all women riders used this type of cloth covering.

Roscelin

 -------------- Original message ----------------------
From: tearoses@aol.com
> In both of these paintings, there seems to be a piece of cloth covering the 
> horse to its ankles underneath the ladies' gowns. Was this a standard part of 
> saddlery, or was it specific to lady riders? (To protect their skirts, maybe?)
>  
> Tea Rose, who has ridden horses exactly twice in her life
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We discussed a 17th century print of a lady in a riding habit not long ago. It was in the 1660s that ladies began to wear habits with the upper half copying masculine attire.

Kate Bunting
Librarian and 17th century reenactor

>>> pasovasz@aol.com 08/03/2006 16:33:00 >>>
Thanks, Melusine.

 From what I've learned, so far, riding clothes were not very different 
from regular clothes until rather recently.  Sidesaddles are also a 
recent invention.  I've heard that sidesaddles, as we understand the 
term, did not exist prior to about 1800.  I don't know if that is true.

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Subject: Re: [h-cost] Isabella, was Funny Nail Polish Colors
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Penny,
I know it as just "Isabella". The story goes that a Queen of Spain vowed not to change her clothes until a certain military campaign had succeeded. Isabella is a greyish-yellow, supposedly the colour her shift became! Casn't quote any sources OTOH, but I've seen it mentioned in literature.

Kate Bunting
Librarian and 17th century reenactor

>>> penny@costumegallery.com 07/03/2006 22:25 >>>
Monica,

I haven't heard of dirty Isabella as a color name before.  What source did 
you use to find that name?

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com 
Costume Classroom, www.costumeclassroom.com 
Costume Research Library, www.costumelibrary.com 

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming and other period tack
Date: Wed, 8 Mar 2006 14:26:10 -0500
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To see the correct modern position of a sidesaddle rider and view some 
nice costumes for riding, as well, go to :
  http://www.sidesaddleinfo.com/tip.html

Feel free to look around the site, while you are there.  Any costuming 
comments on attire?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 9:41 AM, Karen R Bergquist wrote:

> I'm not an expert on equestrian costume or riding side-saddle, but I
> think these ladies ARE riding side-saddle. I can see the subtle outline
> of the right leg wrapped around the saddle horn with the left leg 
> hanging
> more or less vertically. As for the skirt spreading, I have seen it 
> done.
> At Bristol, Mary Kababik, who plays Queen Elizabeth, has ridden in the
> main parade on a side-saddle for the last 5 years and with the amount 
> of
> fabric in her skirt it looks almost exactly like that. In this painting
> the ladies aren't riding perpendicular to the horse, they are riding 
> more
> or less parallel wi the horse with their lower body turned slightly to
> the side.
>
> Just my ha'penny's worth,
>
> Karen
> Seamstrix
>
>
>
>
> On Tue, 7 Mar 2006 19:08:23 -0600 "Diane Maynard"
> <camelothorse@earthlink.net> writes:
>> I can tell you that that I believe that BOTH of these paintings are
>> of women
>> riding ASTRIDE.   These are two of my favorite paintings and I have
>> duplicated both of these gowns for myself.  It takes a LOT of
>> material to
>> make the skirts of these gowns.  If one is riding side-saddle, the
>> gown will
>> not "envelope" the hind quarters of the horse the way these gowns
>> do.  I
>> side saddle gown will literally hang to the side of the legs
>> (covering the
>> legs)and not cover the hindquarters of the horse.
>>
>> Diane
>>
>>
>> VELÁZQUEZ, Diego Rodriguez de Silva y
>> Queen Isabel of Bourbon Equestrian
>> 1634-35
>> Oil on canvas, 301 x 314 cm
>> Museo del Prado, Madrid
>> http://www.wga.hu/art/v/velazque/05/0506vela.jpg
>>
>> VELÁZQUEZ, Diego Rodriguez de Silva y
>> Queen Margarita on Horseback
>> 1634-35
>> Oil on canvas, 297 x 309 cm
>> Museo del Prado, Madrid
>> http://www.wga.hu/art/v/velazque/05/0503vela.jpg
>>
>> It's really hard for me to tell whether they're riding astride or
>> sidesaddle, but perhaps someone with more equestrian experience
>> could
>> venture.
>>
>>
>>
>>
>> _______________________________________________
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>>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I browsed on Olgas gallery under Joshua Reynolds portraits. Gosh how 
wonderfull these are. There are so many ladies wearing turkish dress, and i 
wondered was this just a wim for portraits, or did they really dress in 
turkish some times?
I also noticed that Georgiana Duchesse of Devonshire is portraited 2 times, 
the lady who often is quoted in costume books with the worries of tight 
laced corsets.
Lastly i noticed that many of the names portraited, is names mentioned in 
Jane Austens books.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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At 08:29 PM 3/7/2006, you wrote:
>I'm looking for more online galleries like The Web Gallery of Art at 
>wga.hu, sites with a large collection of searchable images and information 
>about those images. Can anyone suggest some new sites to visit? I'm 
>increasingly frustrated with museum sites that list little more than the 
>accession number along with a thumbnail. I really want to be able to see 
>the art in detail and read about the artist or the subject.
>
>
>Dawn


Hi Dawn,

Have you tried Wikimedia Commons?

For example, I've found a number of Renaissance era paintings in large detail
http://commons.wikimedia.org/wiki/Category:Renaissance_paintings

It is kinda hit or miss with background info, it's hard to search for 
anyone specific, and some images are not yet available, but I have 
otherwise managed to find images here that I've not seen elsewhere on the net.

I also recently discovered a couple of prayer books at the Morgan Library, 
and I know there are more images on that site I haven't gotten to yet.
http://www.morganlibrary.org

The ones I was just looking at are:
"Two Masterpieces Illuminated by Jean Poyet contains commentary on 
eighty-three images from the Prayer Book of Anne de Bretagne and the Hours 
of Henry VIII"
http://www.morganlibrary.org/exhibitions/online/html/index_1024.html
Click on the image to the left. The Hours of Henry VIII is similar to the 
Calendar of Simon Bening, with images of people at work.

Kimiko


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Hello All,

The topic of Pirates at Renaissance events has been breached on another 
list, and it has me wondering...

What would pirates or privateers of the English Renaissance looked like?

I know what images of George Clifford, the "privateering" Earl looks like. 
I know what images of Raleigh, and Drake are like, but what would everyday 
privateers, pirates, or even basic seamen look like during the Elizabethan era?

Thanks,



Kimiko Small
http://www.kimiko1.com
Fresno, CA, USA

"Lady of the Wardrobe" for Isle of Mann Guild
Portraying at California's Central Valley Renaissance Faires
Lady Clifford, Countess of Cumberland
  (Margaret Percy, Eleanor Brandon, or Margaret Russell)

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Kimiko Small wrote:


> I know what images of George Clifford, the "privateering" Earl looks 
> like. I know what images of Raleigh, and Drake are like, but what would 
> everyday privateers, pirates, or even basic seamen look like during the 
> Elizabethan era?
> 


The Gentlemen of Fortune site gives the best explanation I've seen on 
the web:

www.gentlemenoffortune.com


Dawn


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At 23:13 08/03/2006, you wrote:
>Hello All,
>
>The topic of Pirates at Renaissance events has been breached on 
>another list, and it has me wondering...
>
>What would pirates or privateers of the English Renaissance looked like?
>
>I know what images of George Clifford, the "privateering" Earl looks 
>like. I know what images of Raleigh, and Drake are like, but what 
>would everyday privateers, pirates, or even basic seamen look like 
>during the Elizabethan era?
>
>Thanks,


I was just looking at "Vecellio's Book of Costumes"(??) and it has 
several seafaring men depicted. I don't imagine pirates would be any 
different. It's a Dover book - I may have the title wrong, but the 
words "Vecellio" and "Costume" are in the title I'm certain.

Suzi

Thanks for the Books of Hours BTW - lovely.


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Thanks, Kate.

Any one have the link to that print, handy, so I can catch up ?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:

> We discussed a 17th century print of a lady in a riding habit not long 
> ago. It was in the 1660s that ladies began to wear habits with the 
> upper half copying masculine attire.
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> pasovasz@aol.com 08/03/2006 16:33:00 >>>
> Thanks, Melusine.
>
>  From what I've learned, so far, riding clothes were not very different
> from regular clothes until rather recently.  Sidesaddles are also a
> recent invention.  I've heard that sidesaddles, as we understand the
> term, did not exist prior to about 1800.  I don't know if that is true.
>
> ______________________________________________________________________
>
>
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Perhaps so, but it begins nearly a hundred years after the close of the 
Elizabethan era.

   Sailors of the Elizabethan period, based on period art wear loose 
venetians or what willlater be called slops.  Some are shown closed at the 
bottom some are not.  The upper body garments tend to be either close 
fitting doublets, or a loose smock sort of jacket referred to in the period 
as a cassock.  The real obvious indicator of a sailor is the cap.  The most 
notable ones being thrummed caps.  Thrummed caps look in art like fur.  They 
are made from strands of woll (thrum) being afixed through the weave of kit 
caps, not unlike the modern watch cap.

   Good art does exist out there.  A number of Dutch maps shows mariner 
figures as does the Mariner's Mirror.  Actually the Dutch version and the 
English version depict some different figures.  I think it is just after the 
period, but there are the woodcuts of the BArents expeditions as well.  Some 
art survivies depicting one of Frobisher's trips as well.  There is also the 
image depicted in Vecellios that was earlier mentioned.

Ron Carnegie


----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 08, 2006 6:18 PM
Subject: Re: [h-cost] what do renaissance seamen look like?


> Kimiko Small wrote:
>
>
>> I know what images of George Clifford, the "privateering" Earl looks 
>> like. I know what images of Raleigh, and Drake are like, but what would 
>> everyday privateers, pirates, or even basic seamen look like during the 
>> Elizabethan era?
>>
>
>
> The Gentlemen of Fortune site gives the best explanation I've seen on the 
> web:
>
> www.gentlemenoffortune.com
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
Date: Wed, 8 Mar 2006 19:57:35 -0700
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Could this be what was called (at least in some 16th c. sources) a
"safeguard?"
--Sue, costuming but not horse, geek...

----- Original Message -----
From: <roscelinlimoges@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 08, 2006 12:22 PM
Subject: Re: [h-cost] Re: Equestrian costuming and other period tack


> With what I have read and seen in paintings during the past few years of
my own research; I've only seen women on horses with that cloth covering.
What a saddle blanket!  Now, I do want to add that not all women riders used
this type of cloth covering.
>
> Roscelin


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Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
Date: Thu, 09 Mar 2006 03:35:45 +0000
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Sue,

  Let me check my papers and my books.  I'll get back to you as soon as I can.

Roscelin

 -------------- Original message ----------------------
From: "Sue Clemenger" <mooncat@in-tch.com>
> Could this be what was called (at least in some 16th c. sources) a
> "safeguard?"
> --Sue, costuming but not horse, geek...
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Subject: [h-cost] costuming Shakespeare
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After reading that hysterically funny list "THE THINGS I WILL NOT DO WHEN I DIRECT A SHAKESPEARE PRODUCTION, ON STAGE OR FILM" when this post came today on an SCA list, I thought it could be added to that list.

Janet
Sent: Wednesday, March 08, 2006 9:42 PM
Subject: RE: Truth is stranger... Was: [SCA-AE] Sterling Renn Faire


Buffalo NY is fortunate enough to have Shakespeare in Park in Delaware Park.
Their schedule is always advertised in advance.  Once, they advertised
Romeo and Juliet, we decided to make it a 'demo night'  We went to the park 
in Italian Ren garb well prior to the starting time, we had samples
of period munchies to give away and our jugglers were juggling with whatever
props they were handed.

Now, unbeknownst to everybody, because it was supposed to be a 'big surprize',
R&J was being done in modern clothes that year.  So, when the actors arrived
and started climbing on stage, the audience members yelled at the 
'misbehaving teenagers' to get off the stage because the play was scheduled
to start soon and the actors were already in garb in the audience!  They
thought *we* were the actors! :D :D

-- Dagonell

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
Date: Wed, 8 Mar 2006 15:18:57 -0500
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Do you think a saddle blanket this long and richly embellished was only 
for Royal Portraits?

  The horse cannot move much with all that fabric around its legs/feet. 
It would most likely walk.  No galloping in this, unless the rider 
wanted to take a chance that the horse's legs would get tangled and 
they horse and rider would fall mightily- ( half a ton of horse moving 
at a fast pace=momentum!)

One reason modern sidesaddle riders "evolved" the skirt to the much 
smaller Safety Apron (with matching breeches underneath it) was because 
women had been dragged to death when all that fabric of petticoats and 
skirts got tangled around the saddle pommels and could not release the 
woman from the galloping / jumping/ bucking horse.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 2:22 PM, roscelinlimoges@comcast.net wrote:

> With what I have read and seen in paintings during the past few years 
> of my own research; I've only seen women on horses with that cloth 
> covering.  What a saddle blanket!  Now, I do want to add that not all 
> women riders used this type of cloth covering.
>
> Roscelin
>
>  -------------- Original message ----------------------
> From: tearoses@aol.com
>> In both of these paintings, there seems to be a piece of cloth 
>> covering the
>> horse to its ankles underneath the ladies' gowns. Was this a standard 
>> part of
>> saddlery, or was it specific to lady riders? (To protect their 
>> skirts, maybe?)
>>
>> Tea Rose, who has ridden horses exactly twice in her life
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Equestrian costuming and other period tack
Date: Thu, 09 Mar 2006 04:28:08 +0000
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Sue,

   I can only find my books on war horses.  But nothing on "safeguards".  I know I have heard or seen that term before but not sure where right now.  If I may ask, what are your sources?

Roscelin

 -------------- Original message ----------------------
From: "Sue Clemenger" <mooncat@in-tch.com>
> Could this be what was called (at least in some 16th c. sources) a
> "safeguard?"
> --Sue, costuming but not horse, geek...
> 
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I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year under "hunting" and found the thread. The picture is
http://www.costumes.org/history/leloir/vol10/48_1692.jpg 

Kate Bunting
Librarian and 17th century reenactor

>>> pasovasz@aol.com 08/03/2006 23:20 >>>
Thanks, Kate.

Any one have the link to that print, handy, so I can catch up ?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:

> We discussed a 17th century print of a lady in a riding habit not long 
> ago. It was in the 1660s that ladies began to wear habits with the 
> upper half copying masculine attire.
>
> Kate Bunting
> Librarian and 17th century reenactor
>
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From: "michaela" <thebruce@ihug.co.nz>
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	<000601c6423e$a7e5d220$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] Sorry for this,
	testing but also latest projects if you are bored.
Date: Thu, 9 Mar 2006 22:40:29 +1300
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Kia ora Bjarne, Sorry for the delay a nasty stomache bug made me very ill
for the last 48 hours, I'm back to being able to email again!

> > Latest projects are:
> > http://costumes.glittersweet.com/phantom/wishing.htm

> > http://costumes.glittersweet.com/dracula/2mina.htm

> > http://costumes.glittersweet.com/sca/k/2cleves.htm

> Hi Michaela,
> Thanks for posting the links. I enjoyed it very much. Loved your bustle
> dresses, and how the h.......did you make that picture with changeable
> colours?

Thank you Bjarne, I am looking forward to making thse dresses rather than
just pinning them together on the form:)
The flashing picture for here:
http://costumes.glittersweet.com/sca/k/2cleves.htm
Was made by me taking a portrait and changing the colours in it to make 6
different pictures, then I made them smaller and used a different image
editor to create an "animated gif".
I've since simplified the style somewhat and have some progress images here:
http://pinkdiamond.livejournal.com/tag/koeln
Some of those entries haven't yet made it to my website but they will soon.

As to the first part of my initial email.. this one went through immediately
but an earlier email went through after it. I don't know if this was just at
my end though. Hmmm.. I looked here:
http://www.mail-archive.com/h-costume@mail.indra.com/maillist.html
And the posts are arriving there in the same order as I'm getting them, so
the issue seems to be either the indra server or upstream rather than
downstream.

It's just frustrating replying to a topic and finding your post lost and
then found well after the topic has changed;)

One of those things that are notoriously difficult to figure out and then
dealw ith.. it doesn't happen too often though:)

michaela de bruce
http://glittersweet.com



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To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] what do renaissance seamen look like?
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Well, if you're interested in the middle of the 16th century, we have 
a bit of an idea of what was worn on the Mary Rose, which sank in 
1545.  There were a number of leather jerkins found, as well as some 
wool garment fragments, some wool flat caps, leather shoes... that 
sort of thing.  The info shouldn't be too hard to track down if you 
look up the Mary Rose.

Cheers,
Danielle

At 05:13 PM 3/8/2006, you wrote:
>Hello All,
>
>The topic of Pirates at Renaissance events has been breached on 
>another list, and it has me wondering...
>
>What would pirates or privateers of the English Renaissance looked like?
>
>I know what images of George Clifford, the "privateering" Earl looks 
>like. I know what images of Raleigh, and Drake are like, but what 
>would everyday privateers, pirates, or even basic seamen look like 
>during the Elizabethan era?
>
>Thanks,
>
>Kimiko Small
>http://www.kimiko1.com
>Fresno, CA, USA
>
>"Lady of the Wardrobe" for Isle of Mann Guild
>Portraying at California's Central Valley Renaissance Faires
>Lady Clifford, Countess of Cumberland
>  (Margaret Percy, Eleanor Brandon, or Margaret Russell)

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Hi,
I just got an enquiry from a museum. Because this year it is renaissance 
year, a museum has purchased money to get 2 costumes done. I am asked to do 
them. I would make a dress after a portrait of Queen Sophie (the queen they 
remade the wedding dress for) - as a widow. A black dress, small white ruff 
and a black hood.
Then i should also make a prince outfit for a boy, the chosen prince  who 
died in 1647. This is rather late, and i dont think it has much to do with 
renaissance, but..........
Oh  and i had promised myself from stopping making costumes, and besides, 
the outfits has to be finished in about 3 months. ..............
Ah i really dont know, but would be very tempting

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <s40ff416.029@cluster1-gwise3-server.derby.ac.uk>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 15:49:01 +0100
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I have some portraits with riding costume like this print, 2 to be more 
precise.

Bjarne

----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 10:23 AM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


>I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year under 
>"hunting" and found the thread. The picture is
> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> pasovasz@aol.com 08/03/2006 23:20 >>>
> Thanks, Kate.
>
> Any one have the link to that print, handy, so I can catch up ?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for".  - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:
>
>> We discussed a 17th century print of a lady in a riding habit not long
>> ago. It was in the 1660s that ladies began to wear habits with the
>> upper half copying masculine attire.
>>
>> Kate Bunting
>> Librarian and 17th century reenactor
>>
> ______________________________________________________________________
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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From h-costume-bounces@indra.com  Thu Mar  9 10:14:48 2006
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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Bravo, Bjarne. What a fitting recognition for your wonderful skills and accomplishments!
You sound as if you're very tempted.
These projects sound like something a bit new for you, a chance to stretch...
You COULD tell yourself that garments for exhibition aren't QUITE "costumes"...and so you wouldn't be breaking your promise to yourself not to make any more "costumes"...
Keep us posted about what you decide!
Best wishes,
Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
>From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
>Sent: Mar 9, 2006 8:49 AM
>To: h-costume@indra.com
>Subject: [h-cost] dilemma ahhhhhhhhhhh.
>
>Hi,
>I just got an enquiry from a museum. Because this year it is renaissance 
>year, a museum has purchased money to get 2 costumes done. I am asked to do 
>them. I would make a dress after a portrait of Queen Sophie (the queen they 
>remade the wedding dress for) - as a widow. A black dress, small white ruff 
>and a black hood.
>Then i should also make a prince outfit for a boy, the chosen prince  who 
>died in 1647. This is rather late, and i dont think it has much to do with 
>renaissance, but..........
>Oh  and i had promised myself from stopping making costumes, and besides, 
>the outfits has to be finished in about 3 months. ..............
>Ah i really dont know, but would be very tempting
>
>Bjarne
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/ 
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-bounces@indra.com  Thu Mar  9 10:14:52 2006
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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Oh go for it, Bjarne! You *know* you want to! <grin> What a wonderful
opportunity!  Besides, they don't sound as complicated as some of the
wonderful stuff you've shown us over the years, and, heck, you wouldn't have
to worry about shipping it overseas, or wierd fitting issues, or anything!
--Sue in Montana

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 6:49 AM
Subject: [h-cost] dilemma ahhhhhhhhhhh.


> Hi,
> I just got an enquiry from a museum. Because this year it is renaissance
> year, a museum has purchased money to get 2 costumes done. I am asked to
do
> them. I would make a dress after a portrait of Queen Sophie (the queen
they
> remade the wedding dress for) - as a widow. A black dress, small white
ruff
> and a black hood.
> Then i should also make a prince outfit for a boy, the chosen prince  who
> died in 1647. This is rather late, and i dont think it has much to do with
> renaissance, but..........
> Oh  and i had promised myself from stopping making costumes, and besides,
> the outfits has to be finished in about 3 months. ..............
> Ah i really dont know, but would be very tempting
>
> Bjarne


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>Subject: [h-cost] dilemma ahhhhhhhhhhh.

>Oh  and i had promised myself from stopping making costumes, and besides, 
>the outfits has to be finished in about 3 months. ..............
>Ah i really dont know, but would be very tempting


What a tremendous compliment!! It might be worth doing if they pay well
enough.  Then again, the type of work you do is priceless:)  

Anne

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 09:45:05 -0500
To: Historical Costume <h-costume@indra.com>
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Thanks, Kate.

Since I am new to this group, I must have just missed the January 
discussion of Sidesaddle and clothing.

Does anyone know if the person doing that research for a paper on 
women's equestrian clothing, as mentioned in the archive,  has written 
the paper or is it still in progress?

As far as this picture,    
<<http://www.costumes.org/history/leloir/vol10/48_1692.jpg >>  what 
makes it a riding habit rather than an everyday outfit?  Any hints in 
the photo that I should be seeing but don't?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 9, 2006, at 4:23 AM, Kate M Bunting wrote:

> I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year 
> under "hunting" and found the thread. The picture is
> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> pasovasz@aol.com 08/03/2006 23:20 >>>
> Thanks, Kate.
>
> Any one have the link to that print, handy, so I can catch up ?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for".  - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:
>
>> We discussed a 17th century print of a lady in a riding habit not long
>> ago. It was in the 1660s that ladies began to wear habits with the
>> upper half copying masculine attire.
>>
>> Kate Bunting
>> Librarian and 17th century reenactor
>>
> ______________________________________________________________________
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <28612777.1141916759330.JavaMail.root@mswamui-cedar.atl.sa.earthlink.net>
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 16:34:49 +0100
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It is very tempting.
The style of this gown is late renaissance. With a farthingale a little 
bigger than the original in the spanish book. More like a crinoline style. 
White underskirt is slashed, and overdress has a small "peplum skirt" over 
the top. Ruff is edged with reticella lace and is not close fitted to the 
neck, but hangs down a little in the front, but it is starched. Cuffs are 
reticella lace. What a luck i baught the reproduktion lace from Michelas 
site in England. Could be very handy here. Style is like the van Dyke 
portraits or Rubens. She wears a hood wich is curved in each side of the 
forehead, black edged with lace.
The museum is located in the county where this queen lived as a widdow, so 
this is why they want it.

Bjarne
----- Original Message ----- 
From: <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 4:05 PM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


> Bravo, Bjarne. What a fitting recognition for your wonderful skills and 
> accomplishments!
> You sound as if you're very tempted.
> These projects sound like something a bit new for you, a chance to 
> stretch...
> You COULD tell yourself that garments for exhibition aren't QUITE 
> "costumes"...and so you wouldn't be breaking your promise to yourself not 
> to make any more "costumes"...
> Keep us posted about what you decide!
> Best wishes,
> Ruth Anne Baumgartner
> scholar gypsy and amateur costumer
>
> -----Original Message-----
>>From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
>>Sent: Mar 9, 2006 8:49 AM
>>To: h-costume@indra.com
>>Subject: [h-cost] dilemma ahhhhhhhhhhh.
>>
>>Hi,
>>I just got an enquiry from a museum. Because this year it is renaissance
>>year, a museum has purchased money to get 2 costumes done. I am asked to 
>>do
>>them. I would make a dress after a portrait of Queen Sophie (the queen 
>>they
>>remade the wedding dress for) - as a widow. A black dress, small white 
>>ruff
>>and a black hood.
>>Then i should also make a prince outfit for a boy, the chosen prince  who
>>died in 1647. This is rather late, and i dont think it has much to do with
>>renaissance, but..........
>>Oh  and i had promised myself from stopping making costumes, and besides,
>>the outfits has to be finished in about 3 months. ..............
>>Ah i really dont know, but would be very tempting
>>
>>Bjarne
>>
>>
>>
>>
>>
>>Leif og Bjarne Drews
>>www.my-drewscostumes.dk
>>
>>http://home0.inet.tele.dk/drewscph/
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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Subject: [h-cost] mitts
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Hi,
I am working on making mitts with floral embroidery. I use a pattern from 
Williamsburg. Made a muck up wich fits my hand very nicely, i have small 
hands, so i guess they would fit a woman two. My question is wich stitches 
do you use to make these? And is the lining made seperate and assembled 
later, or do you make the lining same time as the outer layer? The thumb 
must be difficult to assemble and the stitches must be very strong, but wich 
stitches?


Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Well, the caption says it's a hunting costume, and the coat, neckcloth, hairstyle and hat are copies from those worn by men at that time. A few decades earlier Samuel Pepys commented on the new fashion for ladies' riding outfits with the upper garments "for all the world like mine" but with a long skirt underneath.

Kate Bunting
Librarian and 17th century reenactor

>>> pasovasz@aol.com 09/03/2006 14:45 >>>
As far as this picture,    
<<http://www.costumes.org/history/leloir/vol10/48_1692.jpg >>  what 
makes it a riding habit rather than an everyday outfit?  Any hints in 
the photo that I should be seeing but don't?

______________________________________________________________________


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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <000501c64380$3f3fab90$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 09:43:20 -0600
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Three months?  Oww.  Is this the portrait of Queen Sophie you'd be doing?
http://www.rosenborgslot.dk/images/pics/a07375wl.jpg (different cap color, 
but I couldn't find anything else in a quick search)
Do you know what the whole dress would look like already?  The wedding dress 
is over 30 years earlier, so it probably wouldn't help... you might have to 
put in some research time, which would make the 3 months time limit harder.
Is this the prince?
http://www.rosenborgslot.dk/images/pics/a03034wl.jpg

I have no doubt you could do it if you set your mind to it, Bjarne, but it 
sounds like a bit of a headache to me!  Would they consider allowing more 
time for it and is the money enough to be tempting?

-E House

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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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In a message dated 3/9/2006 10:15:32 A.M. Eastern Standard Time,  
ladyanne@quik.com writes:

What a  tremendous compliment!! It might be worth doing if they pay  well
enough.  Then again, the type of work you do is priceless:)   



Exactly!
 
Demand they pay for a competent assistant!
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In a message dated 3/9/2006 10:35:36 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

The  style of this gown is late renaissance. 
She wears a hood wich is curved in each side of the 
forehead, black  edged with lace.

********************
 
A "widow's peak". 
 

And the Prince's outfit sounds like it might be fun too. I'm sure they  
dressed him like a little adult, no?
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 16:49:18 +0100
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A hunting suit like this would have ben worn on special occations like 
hunting with the king and queen. Masculine fashion like this was only used 
for hunting. The tricorne, her Steinkirke cravate, the jacket with the big 
cuffs, the way the buttonholes are worked and all the buttons. At this time 
when this print was made, women didnt wear tricornes for daily wear, but 
they wore Fontanges wich are caps with high extended starched laces round 
the forehead. Also her wig is masculin, a fully bottomed wig with lots of 
curls, was only worn with this kind of outfit. The only hair shown for 
ladies this time, was small curls on the forehead just below the fontange. 
In the back, the hair was hided in a cape.
The daily wear uniform for women was the mantua, wich was an open robe with 
a matching petticoat. Mantua was mostly draped at each hip (lifted up with 
loops and buttons) Sleaves did have cufs, but these usually was attached by 
the elbows, where the shift showed.
I have seen portraits from this period where women wears a more relaxed 
style of dress, with t-shaped bodices and loose skirts, wich could be daily 
wear.

Bjarne
----- Original Message ----- 
From: "Susan Data-Samtak" <pasovasz@aol.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 3:45 PM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


Thanks, Kate.

Since I am new to this group, I must have just missed the January
discussion of Sidesaddle and clothing.

Does anyone know if the person doing that research for a paper on
women's equestrian clothing, as mentioned in the archive,  has written
the paper or is it still in progress?

As far as this picture,
<<http://www.costumes.org/history/leloir/vol10/48_1692.jpg >>  what
makes it a riding habit rather than an everyday outfit?  Any hints in
the photo that I should be seeing but don't?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for". - "Ride the Dark
Trail" by Louis L'Amour

On Mar 9, 2006, at 4:23 AM, Kate M Bunting wrote:

> I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year 
> under "hunting" and found the thread. The picture is
> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> pasovasz@aol.com 08/03/2006 23:20 >>>
> Thanks, Kate.
>
> Any one have the link to that print, handy, so I can catch up ?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for".  - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:
>
>> We discussed a 17th century print of a lady in a riding habit not long
>> ago. It was in the 1660s that ladies began to wear habits with the
>> upper half copying masculine attire.
>>
>> Kate Bunting
>> Librarian and 17th century reenactor
>>
> ______________________________________________________________________
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: [h-cost] Ruff - was Bjarne's dilemma
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At 15:43 09/03/2006, you wrote:
>Three months?  Oww.  Is this the portrait of Queen Sophie you'd be doing?
>http://www.rosenborgslot.dk/images/pics/a07375wl.jpg (different cap 
>color, but I couldn't find anything else in a quick search)
>Do you know what the whole dress would look like already?  The 
>wedding dress is over 30 years earlier, so it probably wouldn't 
>help... you might have to put in some research time, which would 
>make the 3 months time limit harder.


What a complicated ruff! I've never seen anything like that. I am 
trying really hard to work it out. Am I mad to think it might be two 
layers of fabric, instead of one - one to make the standard ruff and 
one to make the doubles inside?

>Is this the prince?
>http://www.rosenborgslot.dk/images/pics/a03034wl.jpg
>
>I have no doubt you could do it if you set your mind to it, Bjarne, 
>but it sounds like a bit of a headache to me!  Would they consider 
>allowing more time for it and is the money enough to be tempting?
>
>-E House
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>


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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

http://www.rosenborgslot.dk/images/pics/a07375wl.jpg 


What a bizzare ruff! A ruff inside a ruff!
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 10:57:49 -0500
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It's not as complicated as it looks. Make a ruff with 2 layers. Form a main 
ruff that has all layers. When that is properly spaced. bring the inside 
ruff down into points inside the loops of the outter fabric. It's like 
origami. I can visualize it but may not explain it well.
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 10:52 AM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


>
> In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time,
> formfunc@formfunction.org writes:
>
> http://www.rosenborgslot.dk/images/pics/a07375wl.jpg
>
>
> What a bizzare ruff! A ruff inside a ruff!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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	<6.2.3.4.0.20060309154758.01ddd970@127.0.0.1>
Subject: Re: [h-cost] Ruff - was Bjarne's dilemma
Date: Thu, 9 Mar 2006 17:06:08 +0100
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I have a photo i took at the museum some time ago, i could post it if you 
want, but it is a portrait wich hangs very high up, so the angle of the 
photo is not good, but it gives you an idea.
The princes outfit is like a small adult with hat and feathers. Its red and 
slashed.
Anyway just posted the pic for you to see.
http://www.my-drewscostumes.dk/sophie.htm

Bjarne
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 4:49 PM
Subject: [h-cost] Ruff - was Bjarne's dilemma


> At 15:43 09/03/2006, you wrote:
>>Three months?  Oww.  Is this the portrait of Queen Sophie you'd be doing?
>>http://www.rosenborgslot.dk/images/pics/a07375wl.jpg (different cap color, 
>>but I couldn't find anything else in a quick search)
>>Do you know what the whole dress would look like already?  The wedding 
>>dress is over 30 years earlier, so it probably wouldn't help... you might 
>>have to put in some research time, which would make the 3 months time 
>>limit harder.
>
>
> What a complicated ruff! I've never seen anything like that. I am trying 
> really hard to work it out. Am I mad to think it might be two layers of 
> fabric, instead of one - one to make the standard ruff and one to make the 
> doubles inside?
>
>>Is this the prince?
>>http://www.rosenborgslot.dk/images/pics/a03034wl.jpg
>>
>>I have no doubt you could do it if you set your mind to it, Bjarne, but it 
>>sounds like a bit of a headache to me!  Would they consider allowing more 
>>time for it and is the money enough to be tempting?
>>
>>-E House
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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The temptation to make a rude pun is almost overwhelming...but I'll resist 
<G>

They would wear what everyone else would wear.  There was no particular 
"uniform" of a pirate.  I looked into this when my huibby was giving me 
grief about dressing up.  What we think of as "pirates" is out of 
period...the great coat, the striped clothes, etc.  Darn.  My hubby as 
Captain Jack...hmmm......  Hubby said he'd wear a great coat & tall boots. 
Tunics are dresses...
Julie 


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In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

_http://www.rosenborgslot.dk/images/pics/a03034wl.jpg_ 
(http://www.rosenborgslot.dk/images/pics/a03034wl.jpg) 





I imagined the prince as a boy....like an adolescent. Oh  well.....
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Date: Thu, 9 Mar 2006 10:07:12 -0600 (CST)
Subject: Re: [h-cost] mitts
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Are you overlapping the seams or are you sewing the right sides
together and then turning them over?

I have a one sheet example of stitches used through the periods for
gloves that I can share with you. It is from observational research
as I am not able to go to the various overseas museums that have the
gloves.

One local university recently obtained some gloves that they want me
to come over the catalog for them. I am hoping some are from the
Elizabethan era. :)

Chiara


On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
> Hi,
> I am working on making mitts with floral embroidery. I use a pattern
> from
> Williamsburg. Made a muck up wich fits my hand very nicely, i have
> small
> hands, so i guess they would fit a woman two. My question is wich
> stitches
> do you use to make these? And is the lining made seperate and
> assembled
> later, or do you make the lining same time as the outer layer? The
> thumb
> must be difficult to assemble and the stitches must be very strong,
> but wich
> stitches?
>
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


Franchesca Havas
----------------------------------------

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Subject: Re: [h-cost] mitts
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Thanks Chiara,
I think i would like to sew the right sides together and turn, but i really 
would like to know more, if you have any informations about the stitches i 
would be very happy :-)
I am thinking about you cant sew on the thumbs and then turn, how do you 
attach these last, and wich stitches do you do for this?
Rubbish, off cause i can sew on the tumbs and turn, i am a little confused 
right now, its the museum dress in my head!
No problems then, but do you think backstitching would be ok to use?

Bjarne
----- Original Message ----- 
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 5:07 PM
Subject: Re: [h-cost] mitts


> Are you overlapping the seams or are you sewing the right sides
> together and then turning them over?
>
> I have a one sheet example of stitches used through the periods for
> gloves that I can share with you. It is from observational research
> as I am not able to go to the various overseas museums that have the
> gloves.
>
> One local university recently obtained some gloves that they want me
> to come over the catalog for them. I am hoping some are from the
> Elizabethan era. :)
>
> Chiara
>
>
> On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
>> Hi,
>> I am working on making mitts with floral embroidery. I use a pattern
>> from
>> Williamsburg. Made a muck up wich fits my hand very nicely, i have
>> small
>> hands, so i guess they would fit a woman two. My question is wich
>> stitches
>> do you use to make these? And is the lining made seperate and
>> assembled
>> later, or do you make the lining same time as the outer layer? The
>> thumb
>> must be difficult to assemble and the stitches must be very strong,
>> but wich
>> stitches?
>>
>>
>> Bjarne
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> Franchesca Havas
> ----------------------------------------
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 11:04:48 -0500
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Thank you so much, Bjarne.

Such a wealth of knowledge in this group.  Thanks to all for sharing.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 9, 2006, at 10:49 AM, Bjarne og Leif Drews wrote:

> A hunting suit like this would have ben worn on special occations like 
> hunting with the king and queen. Masculine fashion like this was only 
> used for hunting. The tricorne, her Steinkirke cravate, the jacket 
> with the big cuffs, the way the buttonholes are worked and all the 
> buttons. At this time when this print was made, women didnt wear 
> tricornes for daily wear, but they wore Fontanges wich are caps with 
> high extended starched laces round the forehead. Also her wig is 
> masculin, a fully bottomed wig with lots of curls, was only worn with 
> this kind of outfit. The only hair shown for ladies this time, was 
> small curls on the forehead just below the fontange. In the back, the 
> hair was hided in a cape.
> The daily wear uniform for women was the mantua, wich was an open robe 
> with a matching petticoat. Mantua was mostly draped at each hip 
> (lifted up with loops and buttons) Sleaves did have cufs, but these 
> usually was attached by the elbows, where the shift showed.
> I have seen portraits from this period where women wears a more 
> relaxed style of dress, with t-shaped bodices and loose skirts, wich 
> could be daily wear.
>
> Bjarne
> ----- Original Message ----- From: "Susan Data-Samtak" 
> <pasovasz@aol.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, March 09, 2006 3:45 PM
> Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>
> Thanks, Kate.
>
> Since I am new to this group, I must have just missed the January
> discussion of Sidesaddle and clothing.
>
> Does anyone know if the person doing that research for a paper on
> women's equestrian clothing, as mentioned in the archive,  has written
> the paper or is it still in progress?
>
> As far as this picture,
> <<http://www.costumes.org/history/leloir/vol10/48_1692.jpg >>  what
> makes it a riding habit rather than an everyday outfit?  Any hints in
> the photo that I should be seeing but don't?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for". - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 9, 2006, at 4:23 AM, Kate M Bunting wrote:
>
>> I searched the archive http://sca.uwaterloo.ca/Fashion/ for this year 
>> under "hunting" and found the thread. The picture is
>> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>>
>> Kate Bunting
>> Librarian and 17th century reenactor
>>
>>>>> pasovasz@aol.com 08/03/2006 23:20 >>>
>> Thanks, Kate.
>>
>> Any one have the link to that print, handy, so I can catch up ?
>>
>> Susan
>>
>> "Slow down. The trail is the thing, not the end of the trail. Travel
>> too fast and you miss all you are traveling for".  - "Ride the Dark
>> Trail" by Louis L'Amour
>>
>> On Mar 8, 2006, at 11:56 AM, Kate M Bunting wrote:
>>
>>> We discussed a 17th century print of a lady in a riding habit not 
>>> long
>>> ago. It was in the 1660s that ladies began to wear habits with the
>>> upper half copying masculine attire.
>>>
>>> Kate Bunting
>>> Librarian and 17th century reenactor
>>>
>> ______________________________________________________________________
>>
>>
>> _______________________________________________
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>> h-costume@mail.indra.com
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
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----- Original Message -----
From: <AlbertCat@aol.com>

>
> What a bizzare ruff! A ruff inside a ruff!

Yes, I've been staring at it and I can't see how it would be possible.  The
geometry is all off.  I suspect this is artistic liscense, not a real
garment.

Margo

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 17:20:50 +0100
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No worries Albertcat, its not the prince, but the queen you see in the 
portrait from Rosenborg. I dont have a picture of the prince to share right 
now, but i know the portrait, its a boy dressed in a red doublet with 
trunkhoses. All the costume is slashed and the hat wich i dont know how i 
would make is a tall hat naturally leather colour with red feathers.

Bjarne

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 4:53 PM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


>
> In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time,
> formfunc@formfunction.org writes:
>
> _http://www.rosenborgslot.dk/images/pics/a03034wl.jpg_
> (http://www.rosenborgslot.dk/images/pics/a03034wl.jpg)
>
>
>
>
>
> I imagined the prince as a boy....like an adolescent. Oh  well.....
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Five Rivers Chapmanry" <lgsteph@wightman.ca>
To: <h-costume@indra.com>
Date: Thu, 9 Mar 2006 11:29:41 -0500
Organization: Five Rivers
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Subject: [h-cost] New pattern
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            Thought some of you who re-enact Victorian and Dickens eras
would be interested in the new pattern from Laughing Moon (I'm just waiting
for my new stock to arrive). It's the Hoops and Bustles package, LM112.
Looks like another fabulous addition to this premiere line of patterns. For
details you can visit http://www.5rivers.org/en-gb/p_1058.html which will
take you to that specific pattern.

 

            There's also been a wonderful addition to the Laughing Moon
Men's Frock Coat pattern, in that in now includes a single-breasted, as well
as the double-breasted frock coat, with the original two vests that were
included in the pattern. Again, I'm just waiting for my new stock to arrive.
You can view that pattern at: http://www.5rivers.org/en-gb/p_776.html 

 

Regards,

Lorina

Five Rivers Chapmanry

purveyors of historical sewing patterns, quality hand-crafted cooperage,
re-enactor and embroidery supplies, and more.

519-799-5577 info@5rivers.org - www.5rivers.org

 

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Date: Thu, 9 Mar 2006 10:28:30 -0600 (CST)
Subject: Re: [h-cost] mitts
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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So long as you are not using a glover's needle backstitcing is fine.
The glovers needle has that three sided cutting edge to it for
leather and will cut the thread.

For the thumb, you want to put that in first. You can do an overlap
seam for that if you wish. That is, place the thumb piece inside the
trank of the mitt and sew on the first layer down into the second
layer that is the thumb.

Are these fabric or leather?

Any chance you can send us a thumbnail of what the finished product
should look like? Or a museum link of a pair of mitts these were
based on?

Chiara


On Thu, March 9, 2006 10:15 am, Bjarne og Leif Drews said:
> Thanks Chiara,
> I think i would like to sew the right sides together and turn, but i
> really
> would like to know more, if you have any informations about the
> stitches i
> would be very happy :-)
> I am thinking about you cant sew on the thumbs and then turn, how do
> you
> attach these last, and wich stitches do you do for this?
> Rubbish, off cause i can sew on the tumbs and turn, i am a little
> confused
> right now, its the museum dress in my head!
> No problems then, but do you think backstitching would be ok to use?
>
> Bjarne
> ----- Original Message -----
> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, March 09, 2006 5:07 PM
> Subject: Re: [h-cost] mitts
>
>
>> Are you overlapping the seams or are you sewing the right sides
>> together and then turning them over?
>>
>> I have a one sheet example of stitches used through the periods
>> for
>> gloves that I can share with you. It is from observational
>> research
>> as I am not able to go to the various overseas museums that have
>> the
>> gloves.
>>
>> One local university recently obtained some gloves that they want
>> me
>> to come over the catalog for them. I am hoping some are from the
>> Elizabethan era. :)
>>
>> Chiara
>>
>>
>> On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
>>> Hi,
>>> I am working on making mitts with floral embroidery. I use a
>>> pattern
>>> from
>>> Williamsburg. Made a muck up wich fits my hand very nicely, i
>>> have
>>> small
>>> hands, so i guess they would fit a woman two. My question is wich
>>> stitches
>>> do you use to make these? And is the lining made seperate and
>>> assembled
>>> later, or do you make the lining same time as the outer layer?
>>> The
>>> thumb
>>> must be difficult to assemble and the stitches must be very
>>> strong,
>>> but wich
>>> stitches?
>>>
>>>
>>> Bjarne
>>>
>>>
>>>
>>>
>>>
>>> Leif og Bjarne Drews
>>> www.my-drewscostumes.dk
>>>
>>> http://home0.inet.tele.dk/drewscph/
>>>
>>>
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>
>>
>> Franchesca Havas
>> ----------------------------------------
>>
>> _______________________________________________
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>>
>
>
> _______________________________________________
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Franchesca Havas
----------------------------------------

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Subject: [h-cost] RE: what do renaissance seamen look like?
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From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
>Well, if you're interested in the middle of the 16th century, we have
>a bit of an idea of what was worn on the Mary Rose, which sank in
>1545.  There were a number of leather jerkins found, as well as some
>wool garment fragments, some wool flat caps, leather shoes... that
>sort of thing.  The info shouldn't be too hard to track down if you
>look up the Mary Rose.

There are also the excavations from Red Bay, Labrador and the wreck of the 
San Juan (1565).  Although I haven't found documentation on more than the 
shoes, I'm told that the graves of the Basque seamen had clothes that were 
excavated.

BTW, it is most likely (speaking of shoes) that common seamen were wearing 
turnshoes like: 
http://www.personal.utulsa.edu/~marc-carlson/shoe/SHOES/redbay5.html.  
Non-turned shoes, when found, being more expensive possibly denote officers.

Marc


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] mitts
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Dear Dhiara,
Many thanks for your help.
I want to make them in ivory silk taffeta. You can see the design i made 
here, with colours of embroiderysilks:
http://www.my-drewscostumes.dk/purse.htm
Scroll down to the buttom.
I want to make the outer layer in silk taffeta, and a shite silk satin wich 
is thinner and softer for the lining.

Bjarne
----- Original Message ----- 
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 5:28 PM
Subject: Re: [h-cost] mitts


> So long as you are not using a glover's needle backstitcing is fine.
> The glovers needle has that three sided cutting edge to it for
> leather and will cut the thread.
>
> For the thumb, you want to put that in first. You can do an overlap
> seam for that if you wish. That is, place the thumb piece inside the
> trank of the mitt and sew on the first layer down into the second
> layer that is the thumb.
>
> Are these fabric or leather?
>
> Any chance you can send us a thumbnail of what the finished product
> should look like? Or a museum link of a pair of mitts these were
> based on?
>
> Chiara
>
>
> On Thu, March 9, 2006 10:15 am, Bjarne og Leif Drews said:
>> Thanks Chiara,
>> I think i would like to sew the right sides together and turn, but i
>> really
>> would like to know more, if you have any informations about the
>> stitches i
>> would be very happy :-)
>> I am thinking about you cant sew on the thumbs and then turn, how do
>> you
>> attach these last, and wich stitches do you do for this?
>> Rubbish, off cause i can sew on the tumbs and turn, i am a little
>> confused
>> right now, its the museum dress in my head!
>> No problems then, but do you think backstitching would be ok to use?
>>
>> Bjarne
>> ----- Original Message -----
>> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
>> To: "Historical Costume" <h-costume@indra.com>
>> Sent: Thursday, March 09, 2006 5:07 PM
>> Subject: Re: [h-cost] mitts
>>
>>
>>> Are you overlapping the seams or are you sewing the right sides
>>> together and then turning them over?
>>>
>>> I have a one sheet example of stitches used through the periods
>>> for
>>> gloves that I can share with you. It is from observational
>>> research
>>> as I am not able to go to the various overseas museums that have
>>> the
>>> gloves.
>>>
>>> One local university recently obtained some gloves that they want
>>> me
>>> to come over the catalog for them. I am hoping some are from the
>>> Elizabethan era. :)
>>>
>>> Chiara
>>>
>>>
>>> On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
>>>> Hi,
>>>> I am working on making mitts with floral embroidery. I use a
>>>> pattern
>>>> from
>>>> Williamsburg. Made a muck up wich fits my hand very nicely, i
>>>> have
>>>> small
>>>> hands, so i guess they would fit a woman two. My question is wich
>>>> stitches
>>>> do you use to make these? And is the lining made seperate and
>>>> assembled
>>>> later, or do you make the lining same time as the outer layer?
>>>> The
>>>> thumb
>>>> must be difficult to assemble and the stitches must be very
>>>> strong,
>>>> but wich
>>>> stitches?
>>>>
>>>>
>>>> Bjarne
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Leif og Bjarne Drews
>>>> www.my-drewscostumes.dk
>>>>
>>>> http://home0.inet.tele.dk/drewscph/
>>>>
>>>>
>>>> _______________________________________________
>>>> h-costume mailing list
>>>> h-costume@mail.indra.com
>>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>>
>>>
>>>
>>> Franchesca Havas
>>> ----------------------------------------
>>>
>>> _______________________________________________
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>>
>>
>> _______________________________________________
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>
>
> Franchesca Havas
> ----------------------------------------
>
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Subject: Re: [h-cost] New pattern
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Somehow I find the hoops and bustles a bit weird looking.
I am not sure what it is.


Five Rivers Chapmanry wrote:

>            Thought some of you who re-enact Victorian and Dickens eras
>would be interested in the new pattern from Laughing Moon (I'm just waiting
>for my new stock to arrive). It's the Hoops and Bustles package, LM112.
>Looks like another fabulous addition to this premiere line of patterns. For
>details you can visit http://www.5rivers.org/en-gb/p_1058.html which will
>take you to that specific pattern.
>
> 
>
>            There's also been a wonderful addition to the Laughing Moon
>Men's Frock Coat pattern, in that in now includes a single-breasted, as well
>as the double-breasted frock coat, with the original two vests that were
>included in the pattern. Again, I'm just waiting for my new stock to arrive.
>You can view that pattern at: http://www.5rivers.org/en-gb/p_776.html 
>
> 
>
>Regards,
>
>Lorina
>
>Five Rivers Chapmanry
>
>purveyors of historical sewing patterns, quality hand-crafted cooperage,
>re-enactor and embroidery supplies, and more.
>
>519-799-5577 info@5rivers.org - www.5rivers.org
>
> 
>
>_______________________________________________
>h-costume mailing list
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>
>  
>

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Date: Thu, 9 Mar 2006 11:34:15 -0600 (CST)
Subject: Re: [h-cost] mitts
From: "Franchesca" <ches@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Beautiful as always Bjarne!

The lining is attached at the finger tips for gloves. The same would
apply here. Attach at the top of the mitt and at the top of the
thumb. Then attach it at the cuff. Leave the side seams unattached.

Make sure you allow the fabric for the mitt and the lining to hang
so that it stretches out first. You do not want something this
delicate to have a lininig no longer fit because one or the other
stretched out over time.

Definitely right sides together on the thumb. :)

Chiara


On Thu, March 9, 2006 11:11 am, Bjarne og Leif Drews said:
> Dear Dhiara,
> Many thanks for your help.
> I want to make them in ivory silk taffeta. You can see the design i
> made
> here, with colours of embroiderysilks:
> http://www.my-drewscostumes.dk/purse.htm
> Scroll down to the buttom.
> I want to make the outer layer in silk taffeta, and a shite silk
> satin wich
> is thinner and softer for the lining.
>
> Bjarne
> ----- Original Message -----
> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, March 09, 2006 5:28 PM
> Subject: Re: [h-cost] mitts
>
>
>> So long as you are not using a glover's needle backstitcing is
>> fine.
>> The glovers needle has that three sided cutting edge to it for
>> leather and will cut the thread.
>>
>> For the thumb, you want to put that in first. You can do an
>> overlap
>> seam for that if you wish. That is, place the thumb piece inside
>> the
>> trank of the mitt and sew on the first layer down into the second
>> layer that is the thumb.
>>
>> Are these fabric or leather?
>>
>> Any chance you can send us a thumbnail of what the finished
>> product
>> should look like? Or a museum link of a pair of mitts these were
>> based on?
>>
>> Chiara
>>
>>
>> On Thu, March 9, 2006 10:15 am, Bjarne og Leif Drews said:
>>> Thanks Chiara,
>>> I think i would like to sew the right sides together and turn,
>>> but i
>>> really
>>> would like to know more, if you have any informations about the
>>> stitches i
>>> would be very happy :-)
>>> I am thinking about you cant sew on the thumbs and then turn, how
>>> do
>>> you
>>> attach these last, and wich stitches do you do for this?
>>> Rubbish, off cause i can sew on the tumbs and turn, i am a little
>>> confused
>>> right now, its the museum dress in my head!
>>> No problems then, but do you think backstitching would be ok to
>>> use?
>>>
>>> Bjarne
>>> ----- Original Message -----
>>> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
>>> To: "Historical Costume" <h-costume@indra.com>
>>> Sent: Thursday, March 09, 2006 5:07 PM
>>> Subject: Re: [h-cost] mitts
>>>
>>>
>>>> Are you overlapping the seams or are you sewing the right sides
>>>> together and then turning them over?
>>>>
>>>> I have a one sheet example of stitches used through the periods
>>>> for
>>>> gloves that I can share with you. It is from observational
>>>> research
>>>> as I am not able to go to the various overseas museums that have
>>>> the
>>>> gloves.
>>>>
>>>> One local university recently obtained some gloves that they
>>>> want
>>>> me
>>>> to come over the catalog for them. I am hoping some are from the
>>>> Elizabethan era. :)
>>>>
>>>> Chiara
>>>>
>>>>
>>>> On Thu, March 9, 2006 9:39 am, Bjarne og Leif Drews said:
>>>>> Hi,
>>>>> I am working on making mitts with floral embroidery. I use a
>>>>> pattern
>>>>> from
>>>>> Williamsburg. Made a muck up wich fits my hand very nicely, i
>>>>> have
>>>>> small
>>>>> hands, so i guess they would fit a woman two. My question is
>>>>> wich
>>>>> stitches
>>>>> do you use to make these? And is the lining made seperate and
>>>>> assembled
>>>>> later, or do you make the lining same time as the outer layer?
>>>>> The
>>>>> thumb
>>>>> must be difficult to assemble and the stitches must be very
>>>>> strong,
>>>>> but wich
>>>>> stitches?
>>>>>
>>>>>
>>>>> Bjarne
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> Leif og Bjarne Drews
>>>>> www.my-drewscostumes.dk
>>>>>
>>>>> http://home0.inet.tele.dk/drewscph/
>>>>>
>>>>>
>>>>> _______________________________________________
>>>>> h-costume mailing list
>>>>> h-costume@mail.indra.com
>>>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>>>
>>>>
>>>>
>>>> Franchesca Havas
>>>> ----------------------------------------
>>>>
>>>> _______________________________________________
>>>> h-costume mailing list
>>>> h-costume@mail.indra.com
>>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>>
>>>
>>>
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>
>>
>> Franchesca Havas
>> ----------------------------------------
>>
>> _______________________________________________
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>
>
> _______________________________________________
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Franchesca Havas
----------------------------------------

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Bjarne og Leif Drews wrote:

> A hunting suit like this would have ben worn on special occations like 
> hunting with the king and queen. Masculine fashion like this was only 
> used for hunting. The tricorne, her Steinkirke cravate, the jacket with 
> the big cuffs, the way the buttonholes are worked and all the buttons. 


>> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>>

Does anyone know what portrait this drawing is based on? From what I can 
determine, Leloir's costume books came out in the mid 1800's. I'd like 
to see some of his sources, including the ones for this image:


http://www.costumes.org/history/leloir/vol10/47_1693-98.jpg


Dawn



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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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At 18:14 09/03/2006, you wrote:
>Bjarne og Leif Drews wrote:
>
>>A hunting suit like this would have ben worn on special occations 
>>like hunting with the king and queen. Masculine fashion like this 
>>was only used for hunting. The tricorne, her Steinkirke cravate, 
>>the jacket with the big cuffs, the way the buttonholes are worked 
>>and all the buttons.
>
>
>>>http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
>Does anyone know what portrait this drawing is based on? From what I 
>can determine, Leloir's costume books came out in the mid 1800's. 
>I'd like to see some of his sources, including the ones for this image:
>
>
>http://www.costumes.org/history/leloir/vol10/47_1693-98.jpg


This is one of the series I am talking about, and it is by Bonnart!

http://www.allposters.com/-sp/The-Summer-city-dress-1678_i1344960_.htm?aid=974174

Suzi




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At 18:14 09/03/2006, you wrote:
>Bjarne og Leif Drews wrote:
>
>>A hunting suit like this would have ben worn on special occations 
>>like hunting with the king and queen. Masculine fashion like this 
>>was only used for hunting. The tricorne, her Steinkirke cravate, 
>>the jacket with the big cuffs, the way the buttonholes are worked 
>>and all the buttons.
>
>
>>>http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>
>Does anyone know what portrait this drawing is based on? From what I 
>can determine, Leloir's costume books came out in the mid 1800's. 
>I'd like to see some of his sources, including the ones for this image:
>
>
>http://www.costumes.org/history/leloir/vol10/47_1693-98.jpg
>
>
>Dawn



I suspect these are redrawn from a series of fashion plates which 
were published in France in the late 17th century. I have copies of 
others in a similar style. The artist Bonnart springs to mind, but I 
don't guarantee anything, as I am currently having a "hot  flush" 
(English version) and am as a consequence in the "brainsaremush" state.

Suzi 


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These hoops and bustles are wonderful, Lorena!  I have the first one and the
last as antiques and you have made them up just as they should be. The last
one differs only from mine in that the train part button of mine buttons
onto the hem of the main hoop shape.  Bravo

Kathleen
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 12:00 PM
Subject: Re: [h-cost] New pattern


> Somehow I find the hoops and bustles a bit weird looking.
> I am not sure what it is.
>
>
> Five Rivers Chapmanry wrote:
>
> >            Thought some of you who re-enact Victorian and Dickens eras
> >would be interested in the new pattern from Laughing Moon (I'm just
waiting
> >for my new stock to arrive). It's the Hoops and Bustles package, LM112.
> >Looks like another fabulous addition to this premiere line of patterns.
For
> >details you can visit http://www.5rivers.org/en-gb/p_1058.html which will
> >take you to that specific pattern.
> >
> >
> >
> >            There's also been a wonderful addition to the Laughing Moon
> >Men's Frock Coat pattern, in that in now includes a single-breasted, as
well
> >as the double-breasted frock coat, with the original two vests that were
> >included in the pattern. Again, I'm just waiting for my new stock to
arrive.
> >You can view that pattern at: http://www.5rivers.org/en-gb/p_776.html
> >
> >
> >
> >Regards,
> >
> >Lorina
> >
> >Five Rivers Chapmanry
> >
> >purveyors of historical sewing patterns, quality hand-crafted cooperage,
> >re-enactor and embroidery supplies, and more.
> >
> >519-799-5577 info@5rivers.org - www.5rivers.org
> >
> >
> >
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <s40ff416.029@cluster1-gwise3-server.derby.ac.uk>	<f4641068c57ff9fafca73be8dc84cfc9@aol.com><001201c64391$06a603e0$7c83fea9@CPQ21932199711>
	<4410709A.4050701@reddawn.net>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Thu, 9 Mar 2006 21:25:01 +0100
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Dear Dawn,
I dont think i have ever seen the portraits made after these prints. But it 
could be, that they are real fashion prints. There was a series in the 
1680ies called Mercure Gallante, wich showed handcoloured fashion prints. I 
have photographed all they have at the museum of fine arts in Copenhagen, 
but it is only about 35 prints, not the entire range.
In one of my costume books wich is in danish, dont know the english title, 
it is written by an italian lady called Mila Contini, there is a portrait 
very like the same style, of Marie Adelaide de Savoye, duchesse of Burgundy. 
Its painted in the last part of 17th century, red with gold laces. Her large 
cufs are entirely covered with gold laces  and her waistcoat is entirely 
gold two.
Another portrait from Ribeiros Dress in 18th century Europe, page 47 shows 
Frances Pierrepoint, Countess of Mar, ca. 1715. Her hunting suit is made of 
a very pale rose colloured outfit, and her trimmings are made of silver 
bobbin laces. She also has the masculine wig on.+ tricorne under her right 
arm.

Bjarne

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 09, 2006 7:14 PM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


> Bjarne og Leif Drews wrote:
>
>> A hunting suit like this would have ben worn on special occations like 
>> hunting with the king and queen. Masculine fashion like this was only 
>> used for hunting. The tricorne, her Steinkirke cravate, the jacket with 
>> the big cuffs, the way the buttonholes are worked and all the buttons.
>
>
>>> http://www.costumes.org/history/leloir/vol10/48_1692.jpg
>>>
>
> Does anyone know what portrait this drawing is based on? From what I can 
> determine, Leloir's costume books came out in the mid 1800's. I'd like to 
> see some of his sources, including the ones for this image:
>
>
> http://www.costumes.org/history/leloir/vol10/47_1693-98.jpg
>
>
> Dawn
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Thu Mar  9 17:33:16 2006
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Subject: Re: [h-cost] dilemma ahhhhhhhhhhh. 
To: h-costume@indra.com
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There's only really one question to answer - do you really want to do the 
outfits?

If you do then go for it, because you'll only regret it afterwards if you 
don't.

And the worst thing would be to end up thinking 'what if I had...'.

Well that's what I always tell myself when I take orders for things at short 
notice, anyway  

:-D

Debbie
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Subject: RE: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 15:05:00 -0800
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Are you looking for patterns?
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Thursday, March 09, 2006 8:21 AM
To: Historical Costume
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


No worries Albertcat, its not the prince, but the queen you see in the 
portrait from Rosenborg. I dont have a picture of the prince to share right 
now, but i know the portrait, its a boy dressed in a red doublet with 
trunkhoses. All the costume is slashed and the hat wich i dont know how i 
would make is a tall hat naturally leather colour with red feathers.

Bjarne

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 4:53 PM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


>
> In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time, 
> formfunc@formfunction.org writes:
>
> _http://www.rosenborgslot.dk/images/pics/a03034wl.jpg_
> (http://www.rosenborgslot.dk/images/pics/a03034wl.jpg)
>
>
>
>
>
> I imagined the prince as a boy....like an adolescent. Oh  well..... 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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> A hunting suit like this would have ben worn on special occations like
> hunting with the king and queen. Masculine fashion like this was only used
> for hunting.

I was wondering what your thoughts on this costume were:
http://ec1.images-amazon.com/images/P/B00004YWXG.01._SCLZZZZZZZ_.jpg

It's the cover of the cd Pavaniglia by The Kings Noyse.

It looks very late 17thC or very early 18thC and I would guess they are in
costume for some performance, based mostly on her shoulder cloak and ruff
and his costume.
I'm thinking of something like this or a regular hunting style outfit for a
costume I need in April (I'm singing How Would I Play This Part, from The
Grand Duke by for a G&S singing competition) and I want something evocative
of the period but not a mantua or other general 18thC style. In fact the
original costume is very much a Victorian restyling of Swiss/German national
costume;)  It even has a little jacket worn with it, so this style isn't
really too far off the mark and should help establish some character before
I even open my mouth.
It will be not be completely historically correct as it will be worn over a
kilted skirt, but more like a mix of late Victorian and early 18thC.
Oh and the character singing the song is an actress.

michaela de bruce
http://glittersweet.com



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Subject: [h-cost] RE: New pattern
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Deredere wrote:
>Somehow I find the hoops and bustles a bit weird looking.
>I am not sure what it is.

	I'm not sure either, given these are all taken from examples in the
pattern-maker's private collection, accompanied by exhaustive research. I'd
vouch for all the Laughing Moon patterns. These are the most historically
accurate, best engineered patterns on the market. In my opinion, the set the
gold standard for others to follow.

Kathleen wrote:
>These hoops and bustles are wonderful, Lorena!  I have the first one and
the
>last as antiques and you have made them up just as they should be.

	I feel I should clarify, Kathleen: I am not the creator of these
patterns; rather, I am a distributor. I'd love to take the credit, but that
goes to JoAnn Peterson of Laughing Moon. I am, however, delighted to have
her patterns as part of Five Rivers repertoire.

Regards,
Lorina
Five Rivers Chapmanry
purveyors of historical sewing patterns, quality hand-crafted cooperage,
re-enactor and embroidery supplies, and more.
519-799-5577 info@5rivers.org - www.5rivers.org



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In a message dated 3/9/2006 7:47:34 P.M. Eastern Standard Time,  
Deredere.Galbraith@kabelfoon.nl writes:

Somehow  I find the hoops and bustles a bit weird looking.
I am not sure what it  is.



*****************************
 
Me too.
 
The only thing I can put my finger on is, the oblong hoop needs a pad at  the 
back to keep it from tipping up in front.
 
The round hoop is a bit small for a petticoat hoop with so many hoops in  it. 
I have period ones this size but they are all cage hoops and the wires start  
at a little above the knee height. But I like the shape of that  pattern.
 
The bustles seem functional....lord knows there were so many  contraptions to 
achieve that silhouette. But there is something alien about  them.
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Subject: RE: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 14:19:42 -0800
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These also might be easier because the fit doesn't have to be as fussy as
when it's for a live person. Dress forms don't complain.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of ruthanneb@mindspring.com
Sent: Thursday, March 09, 2006 7:06 AM
To: Historical Costume
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


Bravo, Bjarne. What a fitting recognition for your wonderful skills and
accomplishments! You sound as if you're very tempted. These projects sound
like something a bit new for you, a chance to stretch... You COULD tell
yourself that garments for exhibition aren't QUITE "costumes"...and so you
wouldn't be breaking your promise to yourself not to make any more
"costumes"... Keep us posted about what you decide! Best wishes, Ruth Anne
Baumgartner scholar gypsy and amateur costumer

-----Original Message-----
>From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
>Sent: Mar 9, 2006 8:49 AM
>To: h-costume@indra.com
>Subject: [h-cost] dilemma ahhhhhhhhhhh.
>
>Hi,
>I just got an enquiry from a museum. Because this year it is 
>renaissance
>year, a museum has purchased money to get 2 costumes done. I am asked to do

>them. I would make a dress after a portrait of Queen Sophie (the queen they

>remade the wedding dress for) - as a widow. A black dress, small white ruff

>and a black hood.
>Then i should also make a prince outfit for a boy, the chosen prince  who 
>died in 1647. This is rather late, and i dont think it has much to do with 
>renaissance, but..........
>Oh  and i had promised myself from stopping making costumes, and besides, 
>the outfits has to be finished in about 3 months. ..............
>Ah i really dont know, but would be very tempting
>
>Bjarne
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
>_______________________________________________
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Subject: RE: [h-cost] dilemma ahhhhhhhhhhh.
Date: Thu, 9 Mar 2006 15:02:43 -0800
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OK, that makes sense, but what a lot of work! Lovely, though. Gives me an
idea for my costume.......
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Becky
Sent: Thursday, March 09, 2006 7:58 AM
To: Historical Costume
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


It's not as complicated as it looks. Make a ruff with 2 layers. Form a main 
ruff that has all layers. When that is properly spaced. bring the inside 
ruff down into points inside the loops of the outter fabric. It's like 
origami. I can visualize it but may not explain it well.
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 09, 2006 10:52 AM
Subject: Re: [h-cost] dilemma ahhhhhhhhhhh.


>
> In a message dated 3/9/2006 10:44:37 A.M. Eastern Standard Time, 
> formfunc@formfunction.org writes:
>
> http://www.rosenborgslot.dk/images/pics/a07375wl.jpg
>
>
> What a bizzare ruff! A ruff inside a ruff! 
> _______________________________________________
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> h-costume@mail.indra.com 
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Subject: [h-cost] RE bizarre ruff was :  dilemma ahhhhhhhhhhh.
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It looks like 3 layers with one thick layer between two sheer layers

-----Original Message-----
http://www.rosenborgslot.dk/images/pics/a07375wl.jpg 


What a bizzare ruff! A ruff inside a ruff!


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References: <s40ff416.029@cluster1-gwise3-server.derby.ac.uk>	<f4641068c57ff9fafca73be8dc84cfc9@aol.com><001201c64391$06a603e0$7c83fea9@CPQ21932199711><4410709A.4050701@reddawn.net>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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> In one of my costume books wich is in danish, dont know the english title,
> it is written by an italian lady called Mila Contini, there is a portrait
> very like the same style, of Marie Adelaide de Savoye, duchesse of
Burgundy.
> Its painted in the last part of 17th century, red with gold laces. Her
large
> cufs are entirely covered with gold laces  and her waistcoat is entirely
> gold two.

That would be Fashion, by Mila Contini, I just had another look through my
copy and realised there are in fact a lovely number of images I've really
liked over the years. I found a used copy a couple of years ago and bought
it as it was one of the first costuming books I got hold of. It was in my
school library.

Marie is on page 184. One of my favourite gowns is on page 181 (part of a
two page image) and it's pretty clearly mourning garb. I'm not keen on the
headdress, but the gown is really lovely.
Louis XIV receiving Frederick Augustus of Saxony, Louis Silvestre,
Versailles Museum.

michaela de bruce
http://glittersweet.com



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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Ruff - was Bjarne's dilemma
Date: Thu, 9 Mar 2006 17:17:42 -0800
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Looking at this ruff I actually see three layers.  One big outer layer, then
two ruched together so that one fills the top arches of the large ruff and
the other fills the bottom.  Of course, all the layers may actually be the
same size and you get the rather heart shape of the inner layers as they
become bunched within the outer one.

Ow!  My brain hurts.  I can't wait to see what you do with this one Bjarne!

Regina
>
> What a complicated ruff! I've never seen anything like that. I am
> trying really hard to work it out. Am I mad to think it might be two
> layers of fabric, instead of one - one to make the standard ruff and
> one to make the doubles inside?
>
> >Is this the prince?


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Subject: RE: [h-cost] Ruff - was Bjarne's dilemma
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Looking at the ruff, it may be that the painter just "made up" the ruff
pattern, so it "kind of" looked like the real ruff. Remember, it's a
painting, not a photo, and there is probably a bit of creative license.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Thursday, March 09, 2006 7:50 AM
To: Historical Costume
Subject: [h-cost] Ruff - was Bjarne's dilemma


At 15:43 09/03/2006, you wrote:
>Three months?  Oww.  Is this the portrait of Queen Sophie you'd be 
>doing? http://www.rosenborgslot.dk/images/pics/a07375wl.jpg (different 
>cap color, but I couldn't find anything else in a quick search) Do you 
>know what the whole dress would look like already?  The wedding dress 
>is over 30 years earlier, so it probably wouldn't help... you might 
>have to put in some research time, which would make the 3 months time 
>limit harder.


What a complicated ruff! I've never seen anything like that. I am 
trying really hard to work it out. Am I mad to think it might be two 
layers of fabric, instead of one - one to make the standard ruff and 
one to make the doubles inside?

>Is this the prince? 
>http://www.rosenborgslot.dk/images/pics/a03034wl.jpg
>
>I have no doubt you could do it if you set your mind to it, Bjarne,
>but it sounds like a bit of a headache to me!  Would they consider 
>allowing more time for it and is the money enough to be tempting?
>
>-E House
>
>_______________________________________________
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>h-costume@mail.indra.com 
>http://mail.indra.com/mailman/listinfo/h-costume
>
>


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Subject: [h-cost] Ruff   RE:  dilemma ahhhhhhhhhhh.
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To achieve the look you need 3 layers. Otherwise it will only have the heart
frills in the top loops or the bottom.
You will need to have excess of the frill material to achieve the desired
effect.

De
-----Original Message-----
It's not as complicated as it looks. Make a ruff with 2 layers.


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At 03:18 PM 3/8/2006, you wrote:
>Kimiko Small wrote:
>
>I know what images of George Clifford, the "privateering" Earl looks like. 
>I know what images of Raleigh, and Drake are like, but what would everyday 
>privateers, pirates, or even basic seamen look like during the Elizabethan era?
>
>The Gentlemen of Fortune site gives the best explanation I've seen on the web:
>
>www.gentlemenoffortune.com
>
>
>Dawn


Thanks Dawn. While not the time frame I am looking for, it is very 
informative, and I've learned a lot.

Kimiko


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At 08:29 AM 3/9/2006, you wrote:
>             There's also been a wonderful addition to the Laughing Moon
>Men's Frock Coat pattern, in that in now includes a single-breasted, as well
>as the double-breasted frock coat, with the original two vests that were
>included in the pattern. Again, I'm just waiting for my new stock to arrive.
>You can view that pattern at: http://www.5rivers.org/en-gb/p_776.html


Nice coat. Now I will have something for my husband to wear with me, once I 
get to the Victorian stuff later this year (I will, I will!)

Thanks for sharing the new patterns with us.

Kimiko


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At 03:20 PM 3/8/2006, you wrote:
>I was just looking at "Vecellio's Book of Costumes"(??) and it has several 
>seafaring men depicted. I don't imagine pirates would be any different. 
>It's a Dover book - I may have the title wrong, but the words "Vecellio" 
>and "Costume" are in the title I'm certain.
>
>Suzi
>
>Thanks for the Books of Hours BTW - lovely.


Hi Suzi,

I have that very book, although I forgot it was on my shelves. Thank you, 
the image is ... interesting. Now to scan it for my records.

And I am glad you enjoyed the Book of Hours.

Kimiko


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At 08:06 AM 3/9/2006, you wrote:
>The temptation to make a rude pun is almost overwhelming...but I'll resist <G>
>
>They would wear what everyone else would wear.  There was no particular 
>"uniform" of a pirate.  I looked into this when my huibby was giving me 
>grief about dressing up.  What we think of as "pirates" is out of 
>period...the great coat, the striped clothes, etc.  Darn.  My hubby as 
>Captain Jack...hmmm......  Hubby said he'd wear a great coat & tall boots. 
>Tunics are dresses...
>Julie


Hi Julie,

Thanks for resisting the pun... I am sure we all can come up with something.

This is exactly why I am looking up what they wore, because it was my hunch 
they wore what everyone else wore, but I have no proof of that, and it is 
the visual proof I am looking for. I am going to be doing a visual lecture 
on Costume Myths for our local Ren-faire people.

See, we are currently finding a number of people involving themselves at 
our local Renaissance faires wearing the stereotypical "Pirate" garb, which 
is a much later time frame. While the faire promoters aren't sure what to 
do about it (except for one who has embraced it as her faire theme), I am 
hoping to show people visual images of what exactly they did wear, or at 
least as much info about it as I can. If they want to ignore it, and 
continue to wear the Capt'n Jack Sparrow outfits... at least I tried.

And yeah, if you got a hubby willing to dress like Capt'n Jack... oye. 
Enjoy yourselves. ;-)
I fell in love with my husband because he enjoyed wearing kilts... I really 
like men in kilts.

Kimiko


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] what do renaissance seamen look like?
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At 03:24 AM 3/9/2006, you wrote:
>Well, if you're interested in the middle of the 16th century, we have a 
>bit of an idea of what was worn on the Mary Rose, which sank in 
>1545.  There were a number of leather jerkins found, as well as some wool 
>garment fragments, some wool flat caps, leather shoes... that sort of 
>thing.  The info shouldn't be too hard to track down if you look up the 
>Mary Rose.
>
>Cheers,
>Danielle


Thanks! I found the web site for their display and info, and it was very 
helpful.

Kimiko


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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Fri, 10 Mar 2006 20:48:06 +1100
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While we're on the topic of Equestrian Costume I came across this fashion 
plate 
http://www.costumes.org/history/victorian/women/fashionplates/1859septharpers.jpg 
from 1859. I was under the impression that women didn't wear hoops or skirt 
supports (of whatever style was fashionable at the time) when they were 
riding (as hoops would stand out from the horse's side giving those below a 
view straight up your skirt and bustles or paniers would get in the way of 
you sitting on the horse), but it seems difficult to believe there isn't a 
crinoline under that skirt.
Does anybody have an explanation for why she would wear a crinoline with her 
riding costume? All I can think of is that maybe it's a way to use up the 
extra length in the riding habit, but the 2 big problems with that are A. 
all the fullness is on one side and B. it would mean putting a crinoline on 
underneath your skirts in public. And I'm pretty sure Victorian riding 
habits were only worn when you planned to be actually riding, so no chance 
of having one for show and one for actually getting on a horse.
I'm stumped, if anybody else can offer insights I'm really curious to know.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Hi Elizabeth,
Cant give you any explanations to this, but i remember i have seen movies 
where ladies are riding with crinolines two. This is not evidense, i know.
On the other hand, when i first time visited V&A, they were selling some old 
prints. I baught some of them, and one is Queen Anne of Denmark riding in a 
drum shaped farthingale.

Bjarne

----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 10:48 AM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


> While we're on the topic of Equestrian Costume I came across this fashion 
> plate 
> http://www.costumes.org/history/victorian/women/fashionplates/1859septharpers.jpg 
> from 1859. I was under the impression that women didn't wear hoops or 
> skirt supports (of whatever style was fashionable at the time) when they 
> were riding (as hoops would stand out from the horse's side giving those 
> below a view straight up your skirt and bustles or paniers would get in 
> the way of you sitting on the horse), but it seems difficult to believe 
> there isn't a crinoline under that skirt.
> Does anybody have an explanation for why she would wear a crinoline with 
> her riding costume? All I can think of is that maybe it's a way to use up 
> the extra length in the riding habit, but the 2 big problems with that are 
> A. all the fullness is on one side and B. it would mean putting a 
> crinoline on underneath your skirts in public. And I'm pretty sure 
> Victorian riding habits were only worn when you planned to be actually 
> riding, so no chance of having one for show and one for actually getting 
> on a horse.
> I'm stumped, if anybody else can offer insights I'm really curious to 
> know.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/e_walpole/
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: [h-cost] RE: what do renaissance seamen look like?
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At 08:43 AM 3/9/2006, you wrote:
>There are also the excavations from Red Bay, Labrador and the wreck of the 
>San Juan (1565).  Although I haven't found documentation on more than the 
>shoes, I'm told that the graves of the Basque seamen had clothes that were 
>excavated.
>
>BTW, it is most likely (speaking of shoes) that common seamen were wearing 
>turnshoes like: 
>http://www.personal.utulsa.edu/~marc-carlson/shoe/SHOES/redbay5.html.
>Non-turned shoes, when found, being more expensive possibly denote officers.
>
>Marc


Thank you Marc for that info. I wasn't able to find much on the clothing of 
the San Juan, but I have learned a lot anyway.

And I do appreciate your information on shoes. It is details such as shoes 
that make a difference in the full outfit looking right, or looking off.

Kimiko


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At 04:17 PM 3/8/2006, you wrote:
>Perhaps so, but it begins nearly a hundred years after the close of the 
>Elizabethan era.
>
>   Sailors of the Elizabethan period, based on period art wear loose 
> venetians or what willlater be called slops.  Some are shown closed at 
> the bottom some are not.  The upper body garments tend to be either close 
> fitting doublets, or a loose smock sort of jacket referred to in the 
> period as a cassock.  The real obvious indicator of a sailor is the 
> cap.  The most notable ones being thrummed caps.  Thrummed caps look in 
> art like fur.  They are made from strands of woll (thrum) being afixed 
> through the weave of kit caps, not unlike the modern watch cap.
>
>   Good art does exist out there.  A number of Dutch maps shows mariner 
> figures as does the Mariner's Mirror.  Actually the Dutch version and the 
> English version depict some different figures.  I think it is just after 
> the period, but there are the woodcuts of the BArents expeditions as 
> well.  Some art survivies depicting one of Frobisher's trips as 
> well.  There is also the image depicted in Vecellios that was earlier 
> mentioned.
>
>Ron Carnegie


Hello Ron

Thank you for your explanation. I was looking at the Vecellio's woodcut 
that Suzi mentioned, and couldn't figure out what was going on until I read 
your info. I know Alcega has a pattern for the cassock, although I don't 
know if it is the same or similar, but I will look it up. And the thrummed 
cap gave me a lot to google for (I now understand how to thrum a knitted mitt).

I've found a color image of the Mariner's Mirror, then realized I have a 
B/W copy in one of my books, which is great since the color image is rather 
small, so details are not really there. The Barents expedition is 1596, so 
it is period. I just found a decent image online of one of the images. The 
other one with the polar bear wasn't so clear. It looks like I will have to 
hunt around some more, but you've given me some great leads.

Thank you,

Kimiko


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Date: Fri, 10 Mar 2006 09:40:37 -0500
From: "RON CARNEGIE" <r.carnegie@verizon.net>
Subject: Re: [h-cost] what do renaissance seamen look like?
To: "Historical Costume" <h-costume@indra.com>
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Hello,

   I think Alcega's cassock is a different creature than the sailors 
cassock.  There are a few different article of clothing that use this name, 
and they differ greatly.  Priests wear a long gown that goes by that name, 
in the 17th century there is an overcoat that is called this.  Actually the 
overcoat ios similar to what i am dexcribing, except it is longer.  I am not 
sure if there are any patternn readily available out there, but it is a 
rather easy garment to construct.  Not sure how to verbally descrip it 
though!  It is very similiar to a period shirt, and can be made with fouir 
or five pieces,  To sleeves cut as long rectangles , with a vurve on the top 
to fit into the armscye.  A front an back cut almost the same (you might 
angle the neck openng a little higher in back than in the front, and there 
need to be a least a neck slit ion front).  The front and back should be cut 
with a slight slope at the shoulders (unlike shirts).  I would also curve 
the armscye, as with modern garments or with doublets and things, again 
differnty from a period shirt.  The side seams shoud slope out away from the 
body to give the slightly belled shape seen in some of the pictures.  I 
would add a standing collar between an inch and three inches tall.  The neck 
opening can be just turned, or a facing can be used.  I would clse it with 
buttons, though I have seen ties used on modren reproductions.  I would 
personally make it of wool, though I have seen reproductions at Jamestown 
settlement with ties.  My favorite reproduction at knotwork buttons made 
from hemp line!  I have also seen these cassocks made with canvas, usually 
cotton, though historically is should be linen of hemp.  Thes were made with 
the belief that they might have been constructed from sail cloth, a pratice 
that is documentable for later periods.

   You can leave the garment plain, or you can trim it.  Theonly depictions 
I have seen of trim on these was a Dutch map, that had various historic 
explorers around the edges.  All of them were depicted in these cassock, 
which I think unlikely, officers are usually depicted dressed just like 
landmen gentleman.  I think on this map tha artist was using license to 
makle it clear that they were mariners.  Here the trim was apllied as you 
would guards (around the edges of the body of the garment) and looked like 
various embroidered or metallic as per their wealth.  Like I say  I think 
there is a lot of license there, but I have "guarded" wool cassock with 
simple wool lace or modernly tape.  Makes it a little more interesting.

   If you can find a pattern for a Elizabethan mandillion, this is a very 
similiar creature.  The mandillion buttons all the way down the sides and 
sleeves which allows it to be worn in a few different ways depending on 
warmth desired. They often have pockets as well.  Though I have not seen 
these features in sailor art (actually I might be wrong, I may have seen 
pockets) the 17th century long cassock  must certainly do this so I think it 
is perfectly plausible that some might have. There is also a sleeved cloak 
which is a similiar idea, but thatthe sleeves can actually be buttoned to 
the body to convert a coat into a cape.

   One last consideration.  It is believed by many that these cassocks I am 
describing, are actuually an outergarment (which the mandillions and 17th 
century cassocks certainly are).  If this is the case there should be a 
doublet or at least a jerkin worn under it.  This is still however a matter 
of speculation (as of course is the pattern I described) as it is not clear 
one way or the other from the art.

  I have a very good source for the thrummed caps by the bye.   I have two 
sources, but their better one is far quicker to deliver and far less 
expensive than the other!

Ron Carnegie

----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 3:04 AM
Subject: Re: [h-cost] what do renaissance seamen look like?


> At 04:17 PM 3/8/2006, you wrote:
>>Perhaps so, but it begins nearly a hundred years after the close of the 
>>Elizabethan era.
>>
>>   Sailors of the Elizabethan period, based on period art wear loose 
>> venetians or what willlater be called slops.  Some are shown closed at 
>> the bottom some are not.  The upper body garments tend to be either close 
>> fitting doublets, or a loose smock sort of jacket referred to in the 
>> period as a cassock.  The real obvious indicator of a sailor is the cap. 
>> The most notable ones being thrummed caps.  Thrummed caps look in art 
>> like fur.  They are made from strands of woll (thrum) being afixed 
>> through the weave of kit caps, not unlike the modern watch cap.
>>
>>   Good art does exist out there.  A number of Dutch maps shows mariner 
>> figures as does the Mariner's Mirror.  Actually the Dutch version and the 
>> English version depict some different figures.  I think it is just after 
>> the period, but there are the woodcuts of the BArents expeditions as 
>> well.  Some art survivies depicting one of Frobisher's trips as well. 
>> There is also the image depicted in Vecellios that was earlier mentioned.
>>
>>Ron Carnegie
>
>
> Hello Ron
>
> Thank you for your explanation. I was looking at the Vecellio's woodcut 
> that Suzi mentioned, and couldn't figure out what was going on until I 
> read your info. I know Alcega has a pattern for the cassock, although I 
> don't know if it is the same or similar, but I will look it up. And the 
> thrummed cap gave me a lot to google for (I now understand how to thrum a 
> knitted mitt).
>
> I've found a color image of the Mariner's Mirror, then realized I have a 
> B/W copy in one of my books, which is great since the color image is 
> rather small, so details are not really there. The Barents expedition is 
> 1596, so it is period. I just found a decent image online of one of the 
> images. The other one with the polar bear wasn't so clear. It looks like I 
> will have to hunt around some more, but you've given me some great leads.
>
> Thank you,
>
> Kimiko
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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From: "RON CARNEGIE" <r.carnegie@verizon.net>
Subject: Re: [h-cost] what do renaissance seamen look like?
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      You want to prove the "pyrate" look wrong you might want to go the 
other way about.  Bring in documentation of historic dress in the golden age 
of piracy (a period beginning at the earliest in the middle 17th century and 
usually depicted more around the turn to the 18th).  I say this because such 
research will show that the "pyrate" look when historically inspired at all, 
is just garish example of the civilan dress of the time.  The very argument 
you are in fact making.  Elizabethan pirates probably would even get to be 
garish!  Elizabethan pirates where entirly differnt creatures than the 
brethren of the coast sorts.  The line between honest merchant and pirate 
were very slim.  Beyond that there was no navy in the modern sense.  English 
pirates in the 16th century  were more often than not pirates by oppurtunity 
than prediliction.  Honest sailors who had taken advantage of situation that 
appears, pirated some other poor merchant, and than continued with their 
previous legal operation.  While there were areas in England where acts of 
piracy regularly occured, these tended to be more of a smuggling and 
"wreckers" type activities.  There really was not a pirate culture as would 
later flourish in the Caribbean, American  and Madagascar ports.

Ron Carnegie

>
> Hi Julie,
>
> Thanks for resisting the pun... I am sure we all can come up with 
> something.
>
> This is exactly why I am looking up what they wore, because it was my 
> hunch they wore what everyone else wore, but I have no proof of that, and 
> it is the visual proof I am looking for. I am going to be doing a visual 
> lecture on Costume Myths for our local Ren-faire people.
>
> See, we are currently finding a number of people involving themselves at 
> our local Renaissance faires wearing the stereotypical "Pirate" garb, 
> which is a much later time frame. While the faire promoters aren't sure 
> what to do about it (except for one who has embraced it as her faire 
> theme), I am hoping to show people visual images of what exactly they did 
> wear, or at least as much info about it as I can. If they want to ignore 
> it, and continue to wear the Capt'n Jack Sparrow outfits... at least I 
> tried.
>
> And yeah, if you got a hubby willing to dress like Capt'n Jack... oye. 
> Enjoy yourselves. ;-)
> I fell in love with my husband because he enjoyed wearing kilts... I 
> really like men in kilts.
>
> Kimiko
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] what do renaissance seamen look like?
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During my internship at Jamestown I was asked to research the 'foot of the 
mariner' for the interpretive costume of the mariners c.1609. I wrote up my 
research which I did primarily at the Mariner's Museum in Newport News, VA - 
as I was surveying the dressing of the foot, it may be too narrow a focus 
but I did list several notable records of both naval & merchant slops chests 
if that would be of any help. As might my bibliography

Sarah Paterson (sca.k.a. Bess Darnley) 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Fri, 10 Mar 2006 17:15:10 +0100
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Subject: [h-cost] Danich kings and their outfits
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Hi.
Just to let you know that Rosenborg Castle has made a fantastic website 
where you can examine the individual costumes worn by the danish kings. You 
can turn the pictures round, so you can see every corner of it, and there 
are patterns and details in PDF files format.
Only in danish i am sorry, but i am sure you can find something out.
http://www.kongedragter.dk/
Have fun!!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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>From: Kimiko Small <kimiko@kimiko1.com>
>Thank you Marc for that info. I wasn't able to find much on the clothing of
>the San Juan, but I have learned a lot anyway.

If you do, please let me know.  I've been looking for them for some time now 
:)  I was kinda hoping that someone on the list would see that and it would 
spark a memory - I know where that is! :)

>And I do appreciate your information on shoes. It is details such as shoes
>that make a difference in the full outfit looking right, or looking off.

My pleasure.

Marc


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Hello all,

I've been asked for  " someone to make a highly professional & gorgeous
Jester costume... authentic in appearance but not using authentic fabrics".

If you want this job, please email me privately.



Dawn


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Subject: Re: [h-cost] what do renaissance seamen look like?
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> 
> See, we are currently finding a number of people involving themselves at 
> our local Renaissance faires wearing the stereotypical "Pirate" garb, 
> which is a much later time frame. 

As my father (the final owner of the long-lived family parrot, handed 
down from his grandfather; which grandfather BTW ran away to sea to as a 
cabin boy and came back after one voyage swearing he'd never be a sailor 
again), says:

"Did you ever think about what the back of Long John Silver's coat 
looked like?"

Fran
Lavolta Press
http://www.lavoltapress.com


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] jester costume
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Hi and sorry for my ignorance, what is a Jester Costume?
Bad dictionary here!

Bjarne

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 8:05 PM
Subject: [h-cost] jester costume


> Hello all,
>
> I've been asked for  " someone to make a highly professional & gorgeous
> Jester costume... authentic in appearance but not using authentic 
> fabrics".
>
> If you want this job, please email me privately.
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Bjarne og Leif Drews wrote:

> Hi and sorry for my ignorance, what is a Jester Costume?
> Bad dictionary here!
> 
> Bjarne

Something like this:


http://images.joke.co.uk/images/products/r15426-lge.jpg



Dawn



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A while back, I scanned a ladies' wrapper image out of a Delineator magazine to work on.  I put it in a file for Nov. 1897.  The original color on the image was only printed in blue.  I wanted to try to paint the image for the missing colors.  Last week, I worked on it for a complete day and threw my back out while working. I finished the image today, and went to look in the magazine for the description and found out that the image isn't from the Nov. issue.  I believe it must be from somewhere in the 1896-1898 issues of the magazine.  I have checked all my issues and can't locate it.    

If you have Delineator magazines from this period, would you please check and see if you have this image in it.  I am so upset that I put this much work into an image and can't locate the issue of the magazine that it is from.

I have put a copy of the image online at: www.costumegallery.com/1897/dress3med.jpg 
   
Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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Subject: Re: [h-cost] Danich kings and their outfits
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What a wonderful website.  This is when I wish I need knew how to speak my great grandfather's native language.  He was from Copenhagen.

Roscelin

 -------------- Original message ----------------------
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Hi.
> Just to let you know that Rosenborg Castle has made a fantastic website 
> where you can examine the individual costumes worn by the danish kings. You 
> can turn the pictures round, so you can see every corner of it, and there 
> are patterns and details in PDF files format.
> Only in danish i am sorry, but i am sure you can find something out.
> http://www.kongedragter.dk/
> Have fun!!
> 
> Bjarne
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] what do renaissance seamen look like?
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>
> As my father (the final owner of the long-lived family parrot, handed down 
> from his grandfather; which grandfather BTW ran away to sea to as a cabin 
> boy and came back after one voyage swearing he'd never be a sailor again), 
> says:
>
> "Did you ever think about what the back of Long John Silver's coat looked 
> like?"
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com


Ewwww.....I've seen the bombs my parrot can drop.

Personally, I keep my parrot off my shoulder, because he's easily spooked, 
and I've grown fond of my earlobes and eyeballs.

Dianne 

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>
> And yeah, if you got a hubby willing to dress like Capt'n Jack... oye. 
> Enjoy yourselves. ;-)
> I fell in love with my husband because he enjoyed wearing kilts... I 
> really like men in kilts.
>
> Kimiko

Last week's People magazine had a photo of Johnny Depp, taken on the set of 
the new POtC movie. He was shirtless...rarr.

Dianne 

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Ours (a Mexican redhead creatively named Polly) had a habit of putting 
his head down to be scratched and then taking a good bite out of the 
person who petted him, if they weren't fast enough.

Fran

> 
> Ewwww.....I've seen the bombs my parrot can drop.
> 
> Personally, I keep my parrot off my shoulder, because he's easily 
> spooked, and I've grown fond of my earlobes and eyeballs.
> 
> Dianne
> _______________________________________________
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> 
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Ah, i see, well thanks Dawn, not because i was interrested, but because i 
was currious to se what kind of outfit it would be.
I think it could be fun to make one, but you know, embroidery is my passion!

Bjarne
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 9:51 PM
Subject: Re: [h-cost] jester costume


> Bjarne og Leif Drews wrote:
>
>> Hi and sorry for my ignorance, what is a Jester Costume?
>> Bad dictionary here!
>>
>> Bjarne
>
> Something like this:
>
>
> http://images.joke.co.uk/images/products/r15426-lge.jpg
>
>
>
> Dawn
>
>
>
> _______________________________________________
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Subject: Re: [h-cost] Danich kings and their outfits
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Ah, i must say, its a small world then, how bold of your great grandfather, 
to have the gutss to leave old Denmark.

Bjarne

----- Original Message ----- 
From: <roscelinlimoges@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 11:24 PM
Subject: Re: [h-cost] Danich kings and their outfits


> What a wonderful website.  This is when I wish I need knew how to speak my 
> great grandfather's native language.  He was from Copenhagen.
>
> Roscelin
>
> -------------- Original message ----------------------
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>> Hi.
>> Just to let you know that Rosenborg Castle has made a fantastic website
>> where you can examine the individual costumes worn by the danish kings. 
>> You
>> can turn the pictures round, so you can see every corner of it, and there
>> are patterns and details in PDF files format.
>> Only in danish i am sorry, but i am sure you can find something out.
>> http://www.kongedragter.dk/
>> Have fun!!
>>
>> Bjarne
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>>
>> _______________________________________________
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>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi apropos this topic. If you visited the danish site with the kings 
costumes, the costume wich is shown to the Chr. IV it is a doublet with a 
falling collar from about 1st part of 17th century. Actually this doublet, 
the king wore on board a ship at a battle. He was wounded and therefore they 
kept the costume. So you could say its a sailor outfit from 17th century.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] what do renaissance seamen look like?
Date: Sat, 11 Mar 2006 01:09:34 +0100
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Hi, yes
I know that personality to a bird. When i studyed at the design school, we 
had a day in the zoo to draw animals. I preferred to draw the birds. 
Especially one of them an australian one rose colloured with tall feathers 
on the head, dont know the name, i got quite friendly with, and i could 
stick in my finger and pet it .
After lunch, i hurried back, and the bird was waiting for me ( i thoaght) 
but when i took the finger into him, he just bite me so hard you cant 
imagine. I guess it was another one, and not the other one i had pet before 
lunch.
I never forget that bird................

Bjarne
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 10, 2006 11:49 PM
Subject: Re: [h-cost] what do renaissance seamen look like?


> Ours (a Mexican redhead creatively named Polly) had a habit of putting his 
> head down to be scratched and then taking a good bite out of the person 
> who petted him, if they weren't fast enough.
>
> Fran
>
>>
>> Ewwww.....I've seen the bombs my parrot can drop.
>>
>> Personally, I keep my parrot off my shoulder, because he's easily 
>> spooked, and I've grown fond of my earlobes and eyeballs.
>>
>> Dianne
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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>>
>>
> _______________________________________________
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> 


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
Date: Fri, 10 Mar 2006 20:32:20 -0500
To: Historical Costume <h-costume@indra.com>
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Thanks, Jean.  Makes sense.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 10, 2006, at 4:29 PM, Jean Waddie wrote:

> Susan Data-Samtak <pasovasz@aol.com> wrote
> snip
>>
>> I've also heard that many of the "conventions" followed by sidesaddle 
>> riders today, using english style sidesaddles, go back to Victorian 
>> times when so much of life was codified.  One example that was 
>> pointed out to me: black gloves are appropriate to use for US Rev War 
>> impressions, but definitely not for US Civil War, because Victorians 
>> used black gloves as part of their mourning attire and "A Lady would 
>> not be riding if she were in mourning.  A Lady would stay at home, or 
>> be driven in a carriage."  Can anyone confirm such a statement?
>>
> snip
>
> My impression is that Ladies rode for exercise and pleasure, rather 
> than to get from A to B, therefore it is not something one would do 
> while in mourning.
>
> Jean
>
> -- 
> Jean Waddie
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It was probably the same bird.  The way Polly got people to pet him/her 
(we never knew which) was to make it a surprise attack. Sometimes he 
bit, sometimes not.

He/she was a great bird though.

Fran

Bjarne og Leif Drews wrote:
> Hi, yes
> I know that personality to a bird. When i studyed at the design school, 
> we had a day in the zoo to draw animals. I preferred to draw the birds. 
> Especially one of them an australian one rose colloured with tall 
> feathers on the head, dont know the name, i got quite friendly with, and 
> i could stick in my finger and pet it .
> After lunch, i hurried back, and the bird was waiting for me ( i 
> thoaght) but when i took the finger into him, he just bite me so hard 
> you cant imagine. I guess it was another one, and not the other one i 
> had pet before lunch.
> I never forget that bird................
_______________________________________________
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Bjarne, thank you for that wonderful link. My great-grandfather's family
(Sorensen) was also from Denmark and I'm finally doing some genealogy
research with an aunt.
I also wanted to thank you for sharing your beautiful needlework and
costumes with us. Having the historic settings just sets off the clothing so
well. I wish I had your patience for the embroidery work.
Debra in Georgia, USA


 -------------- Original message ----------------------
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Hi.
> Just to let you know that Rosenborg Castle has made a fantastic website
> where you can examine the individual costumes worn by the danish kings.
You
> can turn the pictures round, so you can see every corner of it, and there
> are patterns and details in PDF files format.
> Only in danish i am sorry, but i am sure you can find something out.
> http://www.kongedragter.dk/
> Have fun!!
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
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------------------------------

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[Please reply privately, as this person is not on the mailing list.]


A friend of mine send me your e-mail about the Jester costume. I am a
professional costumer & specialize in Customized Historic Costuming
(mostly 1500's upper - 1900's). I am interested to know more about the
project. Can you give me more details.
   
  Thank you.
  
Mark D. Lakowske
  Master Oliver Higgins, 
  Personal Tailor to their Majesties and Royal Court
  Minnesota Renaissance Festival - Royal Court 
   
  Fabric of Time - Period Design
  Customized Historical Costuming
  http://www.myspace.com/fabricoftimeperioddesign
   
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Subject: Re: [h-cost] Ruff   RE:  dilemma ahhhhhhhhhhh.
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otsisto wrote:
> To achieve the look you need 3 layers. Otherwise it will only have the heart
> frills in the top loops or the bottom.
> You will need to have excess of the frill material to achieve the desired
> effect.

I can do it in paper with two layers that are the same length.  As the 
original poster of the two-layer solution suggested (sorry, I can't 
remember who it was), you just make figure-eights as usual with both 
layers, then in each loop, bend the inner layer into the little heart 
shape.  The inner layer on the top loop of each figure eight will be the 
outer layer on the adjacent bottom loop.

Melanie Schuessler
http://www.faucet.net/costume

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 hmmmm....how about Cap'n Jack IN a kilt??????
ultimate rowwhhh!double oye!
 melody

--- Dianne & Greg Stucki <goofy1@suscom.net> wrote:

> 
> >
> > And yeah, if you got a hubby willing to dress like
> Capt'n Jack... oye. 
> > Enjoy yourselves. ;-)
> > I fell in love with my husband because he enjoyed
> wearing kilts... I 
> > really like men in kilts.
> >
> > Kimiko
> 
> Last week's People magazine had a photo of Johnny
> Depp, taken on the set of 
> the new POtC movie. He was shirtless...rarr.
> 
> Dianne 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Susan Data-Samtak <pasovasz@aol.com> wrote
snip
>
> I've also heard that many of the "conventions" followed by sidesaddle 
>riders today, using english style sidesaddles, go back to Victorian 
>times when so much of life was codified.  One example that was pointed 
>out to me: black gloves are appropriate to use for US Rev War 
>impressions, but definitely not for US Civil War, because Victorians 
>used black gloves as part of their mourning attire and "A Lady would 
>not be riding if she were in mourning.  A Lady would stay at home, or 
>be driven in a carriage."  Can anyone confirm such a statement?
>
snip

My impression is that Ladies rode for exercise and pleasure, rather than 
to get from A to B, therefore it is not something one would do while in 
mourning.

Jean

-- 
Jean Waddie
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Subject: Re: [h-cost] Birds
Date: Sat, 11 Mar 2006 21:37:29 +1100
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Sounds like a Galah:

galah.galahs.com.au/content/php/article016.php

Can't say I've ever met an Australian parrot that's easy to deal with.

Our old neighbours had a Sulpher Crested Cockatoo who would 'stage whisper'
in the middle of the night, too many times we thought someone had broken in!
It would also shriek late at night too. We ended up spraying it with our
hose when it shrieked. They're quite clever, so eventually it got the hint.
My parents had wild parrots eat their wooden pergola and their geranium bed,
and the mess the local cockatoos leave of our flowering eucalypts has to be
seen to be believed - they just rip all the flowers off the trees and drop
them to the ground.

The one that was friendly must have been very tame! We're all fairly wary
(or is it scared) of them over here. But they're very pretty.

Glenda.


----- Original Message ----- 


> Hi, yes
> I know that personality to a bird. When i studyed at the design school, we
> had a day in the zoo to draw animals. I preferred to draw the birds.
> Especially one of them an australian one rose colloured with tall feathers
> on the head, dont know the name, i got quite friendly with, and i could
> stick in my finger and pet it .
> After lunch, i hurried back, and the bird was waiting for me ( i thoaght)
> but when i took the finger into him, he just bite me so hard you cant
> imagine. I guess it was another one, and not the other one i had pet
> before lunch.
> I never forget that bird................
>
> Bjarne


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Subject: [h-cost] Sorenson OT +
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I wonder how common Sorenson is. I know of many in Minnesota and a few in
Missouri.
Interestingly, in trying to search for the name Tias, I was told to try
Denmark. As yet this seemingly obscure surname doesn't seem to be Danish.
Doesn't seem to be any nationality.:P

And speaking of Danish, Has anyone made Danish lace and is there a
recommended book on how to do it?

De

-----Original Message-----
 (snip)
My great-grandfather's family
(Sorensen) was also from Denmark and I'm finally doing some genealogy
research with an aunt.
(snip)
Debra in Georgia, USA


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <200603091549.k29Fn11k013332@net.indra.com>	<00f201c64393$6be7e190$133c0a0a@PURCHASING><6.2.1.2.0.20060309200513.038e8ab0@64.87.54.245>	<4411B4D1.2020809@lavoltapress.com><00af01c64494$0e48f9f0$154d4e40@Stuckis><44120287.3030200@lavoltapress.com><002d01c644a0$13c4ab70$7c83fea9@CPQ21932199711>
	<084e01c644f7$d235cd30$0202a8c0@mycomputer>
Subject: Re: [h-cost] Birds
Date: Sat, 11 Mar 2006 11:57:15 +0100
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Hi,
The best parrot i know is a grey Jaco parrot. They are African. An ex 
boyfriend of mine was a cirkus artist, and his house was full of parrots, 
snakes and turtles. He even had some rare chinese mandarin ducks in the 
garden pond. When i lived with him, i got quite good friends with Jaco, the 
african parrot. I could even take him with me outside sitting on my 
shoulder, and he would´nt fly away. He also learned a few words with my 
voice, he always said Jaco - Juhuuuuuu when i arrived home to him.
Bjarne

----- Original Message ----- 
From: "Glenda Robinson" <glendarob@exemail.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 11, 2006 11:37 AM
Subject: Re: [h-cost] Birds


> Sounds like a Galah:
>
> galah.galahs.com.au/content/php/article016.php
>
> Can't say I've ever met an Australian parrot that's easy to deal with.
>
> Our old neighbours had a Sulpher Crested Cockatoo who would 'stage 
> whisper'
> in the middle of the night, too many times we thought someone had broken 
> in!
> It would also shriek late at night too. We ended up spraying it with our
> hose when it shrieked. They're quite clever, so eventually it got the 
> hint.
> My parents had wild parrots eat their wooden pergola and their geranium 
> bed,
> and the mess the local cockatoos leave of our flowering eucalypts has to 
> be
> seen to be believed - they just rip all the flowers off the trees and drop
> them to the ground.
>
> The one that was friendly must have been very tame! We're all fairly wary
> (or is it scared) of them over here. But they're very pretty.
>
> Glenda.
>
>
> ----- Original Message ----- 
>
>
>> Hi, yes
>> I know that personality to a bird. When i studyed at the design school, 
>> we
>> had a day in the zoo to draw animals. I preferred to draw the birds.
>> Especially one of them an australian one rose colloured with tall 
>> feathers
>> on the head, dont know the name, i got quite friendly with, and i could
>> stick in my finger and pet it .
>> After lunch, i hurried back, and the bird was waiting for me ( i thoaght)
>> but when i took the finger into him, he just bite me so hard you cant
>> imagine. I guess it was another one, and not the other one i had pet
>> before lunch.
>> I never forget that bird................
>>
>> Bjarne
>
>
> _______________________________________________
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> 


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Subject: [h-cost] RE: layers  still: Ruff   
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But from the picture, the inner "heart" piece looks to be of a lighter
weight then the surrounding loop which is why I believe that it is 3 layers
and not two.

De

-----Original Message-----
I can do it in paper with two layers that are the same length.  As the
original poster of the two-layer solution suggested (sorry, I can't
remember who it was), you just make figure-eights as usual with both
layers, then in each loop, bend the inner layer into the little heart
shape.  The inner layer on the top loop of each figure eight will be the
outer layer on the adjacent bottom loop.

Melanie Schuessler
http://www.faucet.net/costume


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Sorenson OT +
Date: Sat, 11 Mar 2006 12:08:31 +0100
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Hi De,
Sorensen would be Sørensen in danish. It is rather common with the name 
Petersen, Nielsen, Jensen and so on. It is the first name of a person with 
sen in the end. Sen means son. Sørens son, Henriks son and so on.
Tias is a rare name, dont you think it could have ben a name someone had 
buyed?
Danish laces ah yes, i have many experiments with these
The danish laces are called Tønder laces, after a city in the south of 
Jutland. In this county there used to live thousinds of lacemakers back in 
18th century, and there was an industry since the 17th century and 
documentation also that it was made there in 16th century. They always made 
laces after the fashion, f.instance when Arras laces was fashionable, they 
made Arras, Lille in fashion, they made Lille and so on.
The laces most people think about today, when thinking Tønder laces, are 
tulle ground laces with floral patterns. These were made from end of 18th 
century till well into the 20th century. One of the best books about some 
danish patterns would be:
Johanne Nyrup Larsen: Knipling efter tegning. (Lace made from drawings)
Inge Wind Skovgaard: Tønderkniplinger I- and II. The last 30 years the 
lacemaking has become a renaissance here, many young people wants to learn.
I am afraid that you will have some troubble in finding english books on the 
subjekt but if you are interrested, i am willing to send you some patterns 
if you like.

Bjarne

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 11, 2006 11:52 AM
Subject: [h-cost] Sorenson OT +


>I wonder how common Sorenson is. I know of many in Minnesota and a few in
> Missouri.
> Interestingly, in trying to search for the name Tias, I was told to try
> Denmark. As yet this seemingly obscure surname doesn't seem to be Danish.
> Doesn't seem to be any nationality.:P
>
> And speaking of Danish, Has anyone made Danish lace and is there a
> recommended book on how to do it?
>
> De
>
> -----Original Message-----
> (snip)
> My great-grandfather's family
> (Sorensen) was also from Denmark and I'm finally doing some genealogy
> research with an aunt.
> (snip)
> Debra in Georgia, USA
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: julian wilson <smnco37@yahoo.co.uk>
To: Bjarne og Leif Drews <drewscph@post12.tele.dk>
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Subject: [h-cost] Burano's historic lace museums & Venice's "Historic
	Costumiers"
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Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
    Sorensen would be Sørensen in danish. SNIPPAGE 
  Danish laces ah yes, i have many experiments with these
MUCH SNIPPAGE 
  Comment
  Dear Bjarne,
  your e-mail header "Sorensen" - is not about a subjects which I'd normally spend time - the lace being a section of "costume history" about which I know very little. However,.......
   
  Burano's Lace Shops and Museums
  For the future, - if you ever decide to visit Venice on holiday, - the little island of BURANO, in the Venetian Lagoon, - is still - [and was for centuries] -  a community of lacemaking Families. The entire village main street is lined with Family-owned shops devoted mainly to Lace, with some embroidery, - and every single one Sally and I entered this summer on our afternoon-long visit to the island, - has it's own little Museum Display of Lacework created just by that Family in the past. The exhibits are all preserved under glass, and generally hanging on the walls in an area specially set-aside at the back of each shop.
  Never have I seen so much historic lace and embroidery gathered together in such a small location - it's only a small island, and only now supports one village; - though at the height of it's lacemaking days, the island is said to have had thousands of lacemakers in the much-larger historic Population. 
  From what I recall of the translated notices on the exhibits, - the Venetian lacemaking industry really began in Burano during the early 16th Century, when the Serene Republic was just past the peak of it's greatest political and military Power, and had begun it's long, slow descent into decadence.
  If you ever go to Venice,  - with your particular interests, - Burano  would really be worth a leisurely visit.
  Historic Costumers in Venice: - 
  Also, with your particular interests, - it might be worth noting that Venice itself is home to a significant number of small, Family-run, Historic Costumiers, They originally came into being to "service" the touristic demand for "Carnival" costumes, - but have since branched-out into costuming for Film-makers and for Museums. Sally and I visited several of them - and came-away from those visits suffering "sensory overload" from all of the wonderful "historic outfits" which were displayed for us to see.




                  Yours in Service, 
  Matthew
  ["Messire Matthew Baker", Governor & Castellan of Jersey, 1486-1497: 
  Motto  - "Si vis pacem, para bellum" (Trans:-"if you wish for Peace, prepare for War") ]
  aka. - Julian Wilson,  - late-medieval Re-enactor; Herald, Historian, & Master Artisan to 
"The Companie of the Duke's Leopards", 
[the Island of "olde" Jersey's only mediæval living-history Group] 
Meet us at <  www.dukesleopards.org  >" 
     [input]  
  - 










		
---------------------------------
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Would this be the portrait, Bjarne?

http://www.kipar.org/period-galleries/paintings/1700/bourgogne.jpg

And a rather lovely doll, modelled after this portrait:

http://www.finavondolls.com/collection/doll.php/10

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- drewscph@post12.tele.dk wrote:

<snip
<In one of my costume books wich is in danish, dont know the english title, 
<it is written by an italian lady called Mila Contini, there is a portrait 
<very like the same style, of Marie Adelaide de Savoye, duchesse of Burgundy. 
<Its painted in the last part of 17th century, red with gold laces. Her large 
<cufs are entirely covered with gold laces  and her waistcoat is entirely 
<gold two.
<Bjarne



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I am so sorry, they did have an english version with the danish kings 
outfits:
http://www.rosenborgslot.dk/v1/person.asp?PersonID=9&countryID=2&PersonTypeID=1

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Hi Joannah,
Yes this was the portrait i ment from the italian costume book.
That doll maker is incredible, what detail, and the likeness of the persons 
is incredible, thanks for posting the link..

Bjarne
----- Original Message ----- 
From: "Joannah Hansen" <Joannah@sluggy.net>
To: <h-costume@indra.com>
Sent: Saturday, March 11, 2006 4:50 PM
Subject: Re: [h-cost] Equestrian costuming & other period "tack"


> Would this be the portrait, Bjarne?
>
> http://www.kipar.org/period-galleries/paintings/1700/bourgogne.jpg
>
> And a rather lovely doll, modelled after this portrait:
>
> http://www.finavondolls.com/collection/doll.php/10
>
> Joannah
>
> ~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~
>
> --- drewscph@post12.tele.dk wrote:
>
> <snip
> <In one of my costume books wich is in danish, dont know the english 
> title,
> <it is written by an italian lady called Mila Contini, there is a portrait
> <very like the same style, of Marie Adelaide de Savoye, duchesse of 
> Burgundy.
> <Its painted in the last part of 17th century, red with gold laces. Her 
> large
> <cufs are entirely covered with gold laces  and her waistcoat is entirely
> <gold two.
> <Bjarne
>
>
>
> _____________________________________________________________
> Sluggy.Net: The Sluggy Freelance Community!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Oh no - I put a kilt together with Cap'n Jack's way of walking and I get 
- centre of Glasgow on a Saturday night!  Not a good picture!

Jean


Melody Watts <celticredhead2002@yahoo.com> wrote
> hmmmm....how about Cap'n Jack IN a kilt??????
>ultimate rowwhhh!double oye!
> melody
>
>--- Dianne & Greg Stucki <goofy1@suscom.net> wrote:
>
>>
>> >
>> > And yeah, if you got a hubby willing to dress like
>> Capt'n Jack... oye.
>> > Enjoy yourselves. ;-)
>> > I fell in love with my husband because he enjoyed
>> wearing kilts... I
>> > really like men in kilts.
>> >
>> > Kimiko
>>
>> Last week's People magazine had a photo of Johnny
>> Depp, taken on the set of
>> the new POtC movie. He was shirtless...rarr.
>>
>> Dianne
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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>>
>
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-- 
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Subject: [h-cost] Re:16th Century Spanish patterns
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I believe that the correct URL is:
http://www.vertetsable.com/research_freyle.htm

Beth

At 03:49 AM 3/10/2006, you wrote:
>Date: Thu, 9 Mar 2006 20:01:04 -0800 (PST)
>    From: Esperanza de Navarra <esperanzadenavarra@yahoo.com>
>Subject: 16th Century Spanish patterns
>
>I found this neat site for those of you with late Spanish personas:
>   http://web.archive.org/web/20030204224256/www.vertetsable.com/freyle.htm
>
>   I had to get it from the web archive since it looks like it is no 
> longer there.
>
>   It has copies of manuscript pages from Diego de Freyle (1588) 
> which  looks to be a book of patterns for clothing.  If you are even 
> a  moderate garb maker, you can easily pick out what is what.
>
>   Esperanza de Navarra

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From h-costume-bounces@indra.com  Sat Mar 11 18:25:50 2006
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Subject: [h-cost] Tea towels
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Does anyone know where to get tea towels/dish towels of the non-pile 
linen or cotton type, preferably from the US?  With more or less 
historic-looking printed or woven designs such as tapestry, medieval, 
William Morris, Art Nouveau, Arts & Crafts, Victorian . . . you get the 
idea.  With nice designs but not cute/sweet.

Fran
Lavolta Press
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Try www.victoriantradingco.com they usually have stuff like that.
                              Tania 
 
-----Original Message-----
From: Lavolta Press <fran@lavoltapress.com>
To: h-costume@indra.com
Sent: Sat, 11 Mar 2006 15:25:22 -0800
Subject: [h-cost] Tea towels


Does anyone know where to get tea towels/dish towels of the non-pile linen or cotton type, preferably from the US? With more or less historic-looking printed or woven designs such as tapestry, medieval, William Morris, Art Nouveau, Arts & Crafts, Victorian . . . you get the idea. With nice designs but not cute/sweet. 
 
Fran 
Lavolta Press 
http://www.lavoltapress.com 
_______________________________________________ 
h-costume mailing list 
h-costume@mail.indra.com 
http://mail.indra.com/mailman/listinfo/h-costume 
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Date: Sat, 11 Mar 2006 21:05:13 -0500
From: monica spence <monicaspence@optonline.net>
Subject: looking for a painting (was:)RE: [h-cost] Re:16th Century Spanish
	patterns
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Cc: Laurel <discuss-laurel@lists.eastkingdom.org>,
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Speaking of late Spanish personas...

About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
Museum of Women in the Arts  in Washington DC. There was a rather large
painting of an Infanta (Spanish princess) who was the daughter of Philip II.
She was wearing mourning for her mother and was in all black-- including her
jewelry. Has anyone else ever seen this? It is supposed to be ion the Prado,
but I have never seen it reproduced anywhere.  If you know where I can find
this, please let me know! Thanks.
Monica Spence
(Catriona MacDuff in the SCA)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Beth and Bob Matney
Sent: Saturday, March 11, 2006 5:57 PM
To: h-costume@mail.indra.com
Subject: [h-cost] Re:16th Century Spanish patterns


I believe that the correct URL is:
http://www.vertetsable.com/research_freyle.htm

Beth

At 03:49 AM 3/10/2006, you wrote:
>Date: Thu, 9 Mar 2006 20:01:04 -0800 (PST)
>    From: Esperanza de Navarra <esperanzadenavarra@yahoo.com>
>Subject: 16th Century Spanish patterns
>
>I found this neat site for those of you with late Spanish personas:
>   http://web.archive.org/web/20030204224256/www.vertetsable.com/freyle.htm
>
>   I had to get it from the web archive since it looks like it is no
> longer there.
>
>   It has copies of manuscript pages from Diego de Freyle (1588)
> which  looks to be a book of patterns for clothing.  If you are even
> a  moderate garb maker, you can easily pick out what is what.
>
>   Esperanza de Navarra

_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


_______________________________________________
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <44135C62.9010007@lavoltapress.com>
Subject: Re: [h-cost] Tea towels
Date: Sun, 12 Mar 2006 13:18:45 +1100
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The only one I know of is the reproduction medieval table linens carried by 
Historic Enterprises 
http://www.historicenterprises.com/cart.php?m=product_list&c=113 But 
wouldn't most tea towels have been fairly plain and functional, possibly 
even rags (when your linen underwear wears out in one place you can cut down 
the rest of the smock/shirt to make something useful, like a tea towel). 
Unless you can think of a context in which they would be seen by guests (as 
if you could afford to have an ornamental tea towel your guests wouldn't see 
your kitchen)
Elizabeth
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Sunday, March 12, 2006 10:25 AM
Subject: [h-cost] Tea towels


> Does anyone know where to get tea towels/dish towels of the non-pile linen 
> or cotton type, preferably from the US?  With more or less 
> historic-looking printed or woven designs such as tapestry, medieval, 
> William Morris, Art Nouveau, Arts & Crafts, Victorian . . . you get the 
> idea.  With nice designs but not cute/sweet.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com

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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
References: <NJEJJAKCDDIJCJLBNKFICEFJCOAA.monicaspence@optonline.net>
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th Century
	Spanishpatterns
Date: Sun, 12 Mar 2006 16:06:15 +1300
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> About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
> Museum of Women in the Arts  in Washington DC. There was a rather large
> painting of an Infanta (Spanish princess) who was the daughter of Philip
II.
> She was wearing mourning for her mother and was in all black-- including
her
> jewelry. Has anyone else ever seen this? It is supposed to be ion the
Prado,
> but I have never seen it reproduced anywhere.  If you know where I can
find
> this, please let me know! Thanks.


Let me know if its one of the paintings here:
http://sayaespanola.glittersweet.com

Otherwise I have a few books at the local fine arts library I can have a
hunt trhough and see if there is similar painting.

I have a few more portraits I haven't uploaded/linked to in my site so it
may be I have it on file and not on the web.

michaela de bruce
http://glittersweet.com



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Elizabeth Walpole wrote:
> The only one I know of is the reproduction medieval table linens carried 
> by Historic Enterprises 
> http://www.historicenterprises.com/cart.php?m=product_list&c=113 But 
> wouldn't most tea towels have been fairly plain and functional, possibly 
> even rags (when your linen underwear wears out in one place you can cut 
> down the rest of the smock/shirt to make something useful, like a tea 
> towel). Unless you can think of a context in which they would be seen by 
> guests (as if you could afford to have an ornamental tea towel your 
> guests wouldn't see your kitchen)

These aren't for reenactment. I just like to have everything possible 
around my house be things I really like, whether anyone else sees the 
stuff or not. And I much prefer historic looking textiles (of many 
periods) to most modern ones. It would be more virtuous to use up some 
of my linen scraps, but I don't feel like it right now.

Thanks for the link,

Fran
Lavolta Press
http://www.lavoltapress.com

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Date: Sat, 11 Mar 2006 22:40:03 -0500
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th Century
	Spanish patterns
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Quoting monica spence <monicaspence@optonline.net>:

> Speaking of late Spanish personas...
>
> About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
> Museum of Women in the Arts  in Washington DC. There was a rather large
> painting of an Infanta (Spanish princess) who was the daughter of Philip II.
> She was wearing mourning for her mother and was in all black-- including her
> jewelry. Has anyone else ever seen this? It is supposed to be ion the Prado,
> but I have never seen it reproduced anywhere.  If you know where I can find
> this, please let me know! Thanks.

Might it be this one
http://www.bildindex.de/bilder/fmlac10526_01a.jpg

Jerusha (who *really* likes Sofonisba's works)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Sorenson OT +
Date: Sat, 11 Mar 2006 21:54:47 -0600
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I knew about the sen and son part of the name. :)
There is a possibility the name Tias might have been Ties. I've pretty much
given up the search. Most of my families records lead to a dead end due to
fires at the court houses.:P

The Danish lace info is for a friend's cousin who is trying to recreate a
1800s wedding dress from a picture and letters. A letter mentions something
about the dress lace being Danish lace.
So she was wanting to learn how to make the lace.
De

-----Original Message-----
Hi De,
Sorensen would be Sørensen in danish. It is rather common with the name
Petersen, Nielsen, Jensen and so on. It is the first name of a person with
sen in the end. Sen means son. Sørens son, Henriks son and so on.
Tias is a rare name, dont you think it could have ben a name someone had
buyed?
Danish laces ah yes, i have many experiments with these
The danish laces are called Tønder laces, after a city in the south of
Jutland. In this county there used to live thousinds of lacemakers back in
18th century, and there was an industry since the 17th century and
documentation also that it was made there in 16th century. They always made
laces after the fashion, f.instance when Arras laces was fashionable, they
made Arras, Lille in fashion, they made Lille and so on.
The laces most people think about today, when thinking Tønder laces, are
tulle ground laces with floral patterns. These were made from end of 18th
century till well into the 20th century. One of the best books about some
danish patterns would be:
Johanne Nyrup Larsen: Knipling efter tegning. (Lace made from drawings)
Inge Wind Skovgaard: Tønderkniplinger I- and II. The last 30 years the
lacemaking has become a renaissance here, many young people wants to learn.
I am afraid that you will have some troubble in finding english books on the
subjekt but if you are interrested, i am willing to send you some patterns
if you like.

Bjarne


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From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] Equestrian costuming & other period "tack"
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Hi Susan,

I've only stumbled across this post by accident while deleting this 
thread... (not much of a rider being deathly allergic to animals)...

Anyway, I've seen an extant 16th c. English sidesaddle (Shakespeare's 
Birthplace Museum) so I know they existed before 1800, and it is one 
of the oddest looking things I've seen.  I wasn't allowed to take 
photos there and there weren't any postcards of it (unfortunately) 
but if memory serves me it was sea-green leather thing (however, I 
could be misremembering and it might have been more blue than that) 
with silver braid in chevron-pattern or stripes.  It was basically 
perfectly flat, oval shape on top with the pommel sticking up like a 
monolith at the center front.  There wasn't much else too it, beside 
a rather normal looking saddle understructure - it was like instead 
of having a normal saddle seat they filled that area in and stuck a 
plate on top of it.  It looked incredibly uncomfortable to sit on, 
and I would imagine it would cut of the circulation to your legs in 
no time at all.

IIRC, there is a drawing of a woman using a contraption to sit 
sideways on a horse in Ruth Matilda Anderson's "Hispanic Costume: 
1480 - 1530" as well.

I found it interesting that Queen Elizabeth's saddle at Warwick 
Castle is a normal "astride" saddle, if rather ornamented.

Cheers,
Danielle

At 10:33 AM 3/8/2006, you wrote:
>Thanks, Melusine.
>
> From what I've learned, so far, riding clothes were not very 
> different from regular clothes until rather recently.  Sidesaddles 
> are also a recent invention.  I've heard that sidesaddles, as we 
> understand the term, did not exist prior to about 1800.  I don't 
> know if that is true.

<snip>

>Susan

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So, since this is a hunting costume, is that really long train at the back  
intended to drape over the horse as in the other two portraits that were posted 
 to the list? 
 
Tea Rose, who is planning a loose interpretation of a gown just like this. 
 
In a message dated 3/11/2006 1:01:46 P.M. Central Standard Time,  
h-costume-request@indra.com writes:

Date:  Sat, 11 Mar 2006 07:50:43 -0800 (PST)
From: "Joannah Hansen"  <Joannah@SLUGGY.NET>
Subject: Re: [h-cost] Equestrian costuming &  other period "tack"

Would this be the portrait,  Bjarne?

http://www.kipar.org/period-galleries/paintings/1700/bourgogne.jpg



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Here is much info to digest.  Comments?

http://ilaria.veltri.tripod.com/sidesaddle.html

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour
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Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 10, 2006, at 4:48 AM, Elizabeth Walpole wrote:

> While we're on the topic of Equestrian Costume I came across this  
> fashion plate  
> http://www.costumes.org/history/victorian/women/fashionplates/ 
> 1859septharpers.jpg from 1859. I was under the impression that women  
> didn't wear hoops or skirt supports (of whatever style was fashionable  
> at the time) when they were riding (as hoops would stand out from the  
> horse's side giving those below a view straight up your skirt and  
> bustles or paniers would get in the way of you sitting on the horse),  
> but it seems difficult to believe there isn't a crinoline under that  
> skirt.
> Does anybody have an explanation for why she would wear a crinoline  
> with her riding costume? All I can think of is that maybe it's a way  
> to use up the extra length in the riding habit, but the 2 big problems  
> with that are A. all the fullness is on one side and B. it would mean  
> putting a crinoline on underneath your skirts in public. And I'm  
> pretty sure Victorian riding habits were only worn when you planned to  
> be actually riding, so no chance of having one for show and one for  
> actually getting on a horse.
> I'm stumped, if anybody else can offer insights I'm really curious to  
> know.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/e_walpole/
>
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From: Michelle Plumb <mplumb@wideopenwest.com>
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Status: RO

I know how you feel, Bjarne.

My family research hit a wall too, due to a language barrier and a 
revolution.

My great-great-great--(forget how many greats) grandfather left France 
in 1786 (3 years before the French Revolution) for Canada at the age of two.

I don't speak French, and even if I did the odds of any records 
surviving the Revolution probably aren't good.

On the other hand, a cousin has traced my great-great--(again, forgot 
how many greats) grandmother, Lady Anne Gosse, to 1660s England.

I think we have an SCA persona here!  I can borrow her name and craft a 
history based on the info my cousin dug up.

Michelle, seeing the cup half-full.
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Subject: [h-cost] Source for aesthetic style silk
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Greetings:

At $345 Canadian a yard - not even in metres! I'm glad I'm not interested 
in  doing anything in the aesthetic style, but it shure nuff is purty! 
"This rich silk fabric is based on an original made in England in the 
1880's. The document (original) colour is in a Robin's Egg blue on Cream, 
but it is offered in six other colours as well."

http://www.charlesrupert.com/traditional/1880to1900/aestheticsilk.html

This company has a wide variety of reproduction wallpapers and textiles  too.

Sheridan Alder

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From h-costume-bounces@indra.com  Sun Mar 12 05:19:52 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Sorenson OT +
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Hi Michelle,
It was not me, who could not trace my family. It was De.
My family name Drews is traced back to Friesland in nothern Germany. It was 
one of these, who came to Denmark to grow the new potatoes. In Germany many 
people is called Drews, but here in Denmark we are only 2 families with that 
name.
I think there was a danish king, who gave away land for the new potato 
pheassants.
Bjarne

----- Original Message ----- 
From: "Michelle Plumb" <mplumb@wideopenwest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 6:11 AM
Subject: Re: [h-cost] Sorenson OT +


>I know how you feel, Bjarne.
>
> My family research hit a wall too, due to a language barrier and a 
> revolution.
>
> My great-great-great--(forget how many greats) grandfather left France in 
> 1786 (3 years before the French Revolution) for Canada at the age of two.
>
> I don't speak French, and even if I did the odds of any records surviving 
> the Revolution probably aren't good.
>
> On the other hand, a cousin has traced my great-great--(again, forgot how 
> many greats) grandmother, Lady Anne Gosse, to 1660s England.
>
> I think we have an SCA persona here!  I can borrow her name and craft a 
> history based on the info my cousin dug up.
>
> Michelle, seeing the cup half-full.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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That was probably a galah. 

http://en.wikipedia.org/wiki/Galah

Whenever I hear galahs calling/screaming, it reminds me of being on my grandma's farm in northwest Victoria.

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- drewscph@post12.tele.dk wrote:

Hi, yes
I know that personality to a bird. When i studyed at the design school, we 
had a day in the zoo to draw animals. I preferred to draw the birds. 
Especially one of them an australian one rose colloured with tall feathers 
on the head, dont know the name, i got quite friendly with, and i could 
stick in my finger and pet it .
After lunch, i hurried back, and the bird was waiting for me ( i thoaght) 
but when i took the finger into him, he just bite me so hard you cant 
imagine. I guess it was another one, and not the other one i had pet before 
lunch.
I never forget that bird................

Bjarne


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From: "Joannah Hansen" <Joannah@SLUGGY.NET>
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Subject: Re: [h-cost] Danish ancestors
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Your great-grandfather, too, Roscelin? My great-grandfather Hansen was a Danish sailor, which is how he ended up in Brisbane and met my great-grandmother. We've probably both got relatives all over Denmark. :-)

A funny story about names - when my mother was pregnant with me, she wanted to choose a name which would go well with the Danish Hansen name. She saw a book of Danish baby names advertised somwhere, and sent away for it. When it arrived, she discovered it was IN Danish! ( She only knows English. ) I'm not sure how she came up with name I was christened with, or the spelling. I know there are other people with the same spelling, but I've never met one - all other variations of Joanna, Johanna, etc. Ive met - but not mine.

Joannah.

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- roscelinlimoges@comcast.net wrote:

What a wonderful website.  This is when I wish I need knew how to speak my great grandfather's native language.  He was from Copenhagen.

Roscelin



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From h-costume-bounces@indra.com  Sun Mar 12 08:17:33 2006
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Subject: Re: [h-cost] Tea towels
Date: Sun, 12 Mar 2006 08:18:12 -0500
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Fran, the only time I have seen any that might be as you describe is at
antique flea markets...such as Brimfield in Ma. Sometimes there are rummage
baskets with assorted (and sometimes unculled) linen. At the July (5 day
session) I am usually over-warm and end up searching for a stylish sort of
tea towel or dresser cloth to use as a perspiration towel,  Have netted a
couple with nice fringe much as you describe. The best ones of course are
usually folded nicely on tables with prices to pay for the TLC.  But a few
don't make that far because the dealer doesn't "do" textiles and just has
this old box of rags hanging about.  These are of course what I look for.
Brimfield happens three times a year and is located less than 10 miles from
Sturbridge Village (a 19thC living history community). There are acres and
acres of tents and dealers.

Kathleen

----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Saturday, March 11, 2006 6:25 PM
Subject: [h-cost] Tea towels


> Does anyone know where to get tea towels/dish towels of the non-pile
> linen or cotton type, preferably from the US?  With more or less
> historic-looking printed or woven designs such as tapestry, medieval,
> William Morris, Art Nouveau, Arts & Crafts, Victorian . . . you get the
> idea.  With nice designs but not cute/sweet.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> _______________________________________________
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You should hear the stories a friend of mine who works at the RSPCA here in Brisbane tells about a sulphur crested cockatoo that lives at the shelter.

The bird's name is Bob, which he knows very well - even referring to himself in the third person. Bob got moved one day to the reception area, and promptly started calling himself another name. 'Scratch Harry, scratch Harry?' He completely bamboozled the reception staff - they had no idea that he was really Bob. Now, how many birds decide to have an identity change?

Bob is just a bit too smart, sometimes, by the sound of things. He's also really cantankerous and unpredictable, which is why he is still at the shelter. 

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- glendarob@exemail.com.au wrote:

Sounds like a Galah:

galah.galahs.com.au/content/php/article016.php

Can't say I've ever met an Australian parrot that's easy to deal with.

Our old neighbours had a Sulpher Crested Cockatoo who would 'stage whisper'
in the middle of the night, too many times we thought someone had broken in!
It would also shriek late at night too. We ended up spraying it with our
hose when it shrieked. They're quite clever, so eventually it got the hint.
My parents had wild parrots eat their wooden pergola and their geranium bed,
and the mess the local cockatoos leave of our flowering eucalypts has to be
seen to be believed - they just rip all the flowers off the trees and drop
them to the ground.

The one that was friendly must have been very tame! We're all fairly wary
(or is it scared) of them over here. But they're very pretty.

Glenda.


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 OT
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Wow!  What an interesting observation!  I too have horses and just 
recently bought a new one just so I could dress her and myself up!  My 
other horses are all Quarter horses, and they just don't suit my 
costuming  tastes.  I had a side saddle made about 10 years ago for this 
purpose also, but for Annettes reasons, have not gotten around to using 
if to my cosutming ends.  I would LOVE to have discussion with others of 
like mind.  Perhaps we could keep our costuming discussions on this list 
because there are such good resources (and I myself love to read other's 
posts even if they are outside my current focus.).  What if we 
precededed each of our equestrian posts with an EQ-as I have done, and 
create a Yahoo group for all the other non-costume related discussions.  
(I'd love to shary horse stories, pictures etc.)

Yeah!

Sg
Kahlara wrote:

>Over the years I have found that most of my creative associations seem to have at least two or three similarities in other areas as well as the shared interest in which we first became aquainted.
>   
>  I have noticed several list members make reference to horses and riding. I ride and own horses also. I also have made various articles of riding clothing and costumes for shows over the years (to keep it close to list topic).
>   
>  Although each individual is different, there seems to be a range of interests that most creative people share to one degree or another. For my part...
>   
>  horses, cats (or pets in general), costuming, reading, theatre, good movies, classical and traditional music, gardening, other artistically creative endeavors such as panting or some type of crafting, etc. And of course, the list always exceeds the amount of time available to pursue said interests.
>   
>  Just a little generalizing. ;-)
>   
>  Annette M
>
>		
>---------------------------------
>Brings words and photos together (easily) with
> PhotoMail  - it's free and works with Yahoo! Mail.
>_______________________________________________
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>
>
>  
>

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Hi,
The most common name would be Johanne with an e last.
Its the equivalent to Johan wich is a mans name, or perhaps Johannes, wich 
is a name taken from the bible. It would be John the baptistÂ´danish name, 
Johannes.
Yes in the end all you australian and american, would all be european 
origin.
Wish i had the warmth here as they have in Australia. We have had frost for 
months now, and we long to get some spring here................ My kitchen 
where i sit with the puter, is not heated, so you dont want to stay here 
very long.

Bjarne
----- Original Message ----- 
From: "Joannah Hansen" <Joannah@sluggy.net>
To: <h-costume@indra.com>
Sent: Sunday, March 12, 2006 2:09 PM
Subject: Re: [h-cost] Danish ancestors


> Your great-grandfather, too, Roscelin? My great-grandfather Hansen was a 
> Danish sailor, which is how he ended up in Brisbane and met my 
> great-grandmother. We've probably both got relatives all over Denmark. :-)
>
> A funny story about names - when my mother was pregnant with me, she 
> wanted to choose a name which would go well with the Danish Hansen name. 
> She saw a book of Danish baby names advertised somwhere, and sent away for 
> it. When it arrived, she discovered it was IN Danish! ( She only knows 
> English. ) I'm not sure how she came up with name I was christened with, 
> or the spelling. I know there are other people with the same spelling, but 
> I've never met one - all other variations of Joanna, Johanna, etc. Ive 
> met - but not mine.
>
> Joannah.
>
> ~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~
>
> --- roscelinlimoges@comcast.net wrote:
>
> What a wonderful website.  This is when I wish I need knew how to speak my 
> great grandfather's native language.  He was from Copenhagen.
>
> Roscelin
>
>
>
> _____________________________________________________________
> Sluggy.Net: The Sluggy Freelance Community!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: EQ-Re: [h-cost] Equestrian costumers and other hobbies - sort of
	OT
Date: Sun, 12 Mar 2006 14:58:15 +0100
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Hi,
Oh yes please have this disgussion on the list. Its no bother at all, and 
very costume contented. It would be a shame if everybody made small forums 
for special things, we would end up with nothing in the end, and then i 
would be very sad!

Bjarne
----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 2:50 PM
Subject: EQ-Re: [h-cost] Equestrian costumers and other hobbies - sort of OT


> Wow!  What an interesting observation!  I too have horses and just 
> recently bought a new one just so I could dress her and myself up!  My 
> other horses are all Quarter horses, and they just don't suit my costuming 
> tastes.  I had a side saddle made about 10 years ago for this purpose 
> also, but for Annettes reasons, have not gotten around to using if to my 
> cosutming ends.  I would LOVE to have discussion with others of like mind. 
> Perhaps we could keep our costuming discussions on this list because there 
> are such good resources (and I myself love to read other's posts even if 
> they are outside my current focus.).  What if we precededed each of our 
> equestrian posts with an EQ-as I have done, and create a Yahoo group for 
> all the other non-costume related discussions.  (I'd love to shary horse 
> stories, pictures etc.)
>
> Yeah!
>
> Sg
> Kahlara wrote:
>
>>Over the years I have found that most of my creative associations seem to 
>>have at least two or three similarities in other areas as well as the 
>>shared interest in which we first became aquainted.
>>   I have noticed several list members make reference to horses and 
>> riding. I ride and own horses also. I also have made various articles of 
>> riding clothing and costumes for shows over the years (to keep it close 
>> to list topic).
>>   Although each individual is different, there seems to be a range of 
>> interests that most creative people share to one degree or another. For 
>> my part...
>>   horses, cats (or pets in general), costuming, reading, theatre, good 
>> movies, classical and traditional music, gardening, other artistically 
>> creative endeavors such as panting or some type of crafting, etc. And of 
>> course, the list always exceeds the amount of time available to pursue 
>> said interests.
>>   Just a little generalizing. ;-)
>>   Annette M
>>
>> ---------------------------------
>>Brings words and photos together (easily) with
>> PhotoMail  - it's free and works with Yahoo! Mail.
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>>
>
> _______________________________________________
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> 


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Subject: Re: [h-cost] RE: layers  still: Ruff
References: <IDEHICPIJOEBPADHEOGPAENAGAAA.otsisto@socket.net>
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otsisto wrote:
> But from the picture, the inner "heart" piece looks to be of a lighter
> weight then the surrounding loop which is why I believe that it is 3 layers
> and not two.

I'm trying to picture how this could work with three layers.  The 
innermost layer of any loop is always the outermost layer of the next 
loop.  Are you picturing two lighter weight layers with a heavier layer 
in between?

As far as extra fullness in some layers and not others, I can't see how 
it could work.  If you had two lightweight layers with a heavier one 
between, and both lightweight layers had more fullness than the heavier 
layer, you'd end up with too much on the outside of every loop.

Try your method in paper and see if it works.

I think the lightweight vs. heavier layers in the painting may be an 
illlusion and that Occam's Razor is our friend here.

Cheers,
Melanie

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References: <NJEJJAKCDDIJCJLBNKFICEFJCOAA.monicaspence@optonline.net>
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th Century
	Spanishpatterns
Date: Sun, 12 Mar 2006 07:48:17 -0700
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It sure doesn't show up in my book on Anguissola.  There are a couple of
portraits of women in black, but neither is one of the Infantas (assuming
you're referring to the daughters of Philip and Isabel...there don't seem to
be any in my book at all of Philip and Anne's children).  In addition, there
are several portraits of the two Infantas, but none of them have any
attribute of being a "mourning" outfit.  In the portraits of the girls when
younger, they're wearing a dark, brocaded fabric.  In older portraits,
they're wearing mostly black, but so it virtually every other adult from the
Spanish court.
Could the exhibit have been making an incorrect assumption about the use of
black in the portraits? Their mother died when they were very young (toddler
& infant).....
--Sue

----- Original Message -----
From: "monica spence" <monicaspence@optonline.net>
To: "Historical Costume" <h-costume@indra.com>
Cc: "Laurel" <discuss-laurel@lists.eastkingdom.org>; "Maunche"
<discuss-maunche@lists.eastkingdom.org>
Sent: Saturday, March 11, 2006 7:05 PM
Subject: looking for a painting (was:)RE: [h-cost] Re:16th Century
Spanishpatterns


> Speaking of late Spanish personas...
>
> About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
> Museum of Women in the Arts  in Washington DC. There was a rather large
> painting of an Infanta (Spanish princess) who was the daughter of Philip
II.
> She was wearing mourning for her mother and was in all black-- including
her
> jewelry. Has anyone else ever seen this? It is supposed to be ion the
Prado,
> but I have never seen it reproduced anywhere.  If you know where I can
find
> this, please let me know! Thanks.
> Monica Spence
> (Catriona MacDuff in the SCA)


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Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th Century
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Quoting Sue Clemenger <mooncat@in-tch.com>:

> It sure doesn't show up in my book on Anguissola.  There are a couple of
> portraits of women in black, but neither is one of the Infantas (assuming
> you're referring to the daughters of Philip and Isabel...there don't seem to
> be any in my book at all of Philip and Anne's children).  In addition, there
> are several portraits of the two Infantas, but none of them have any
> attribute of being a "mourning" outfit.  In the portraits of the girls when
> younger, they're wearing a dark, brocaded fabric.  In older portraits,
> they're wearing mostly black, but so it virtually every other adult from the
> Spanish court.

I have to say this is the first time I'd ever seen this one
http://www.bildindex.de/bilder/fmlac10526_01a.jpg

I *really* want to know how to search that web site!

(Are you looking at the Perlingeri book?  I love that book -- I want a
copy!)

Susan (ska Jerusha)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
	CenturySpanishpatterns
Date: Sun, 12 Mar 2006 08:33:00 -0700
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Perlingeri it is! <weg> I lucked into getting one 12 or 13 years ago at an
SCA event (Estrella War)  At the time, I was heavily into late 16th century
clothing, so finding it was like finding "the god book," especially since it
was some time before QEUnlocked came out.   And Anguissola being a woman
made the whole thing that much sweeter.
My oldest cat is named "Sofi," after the artist, but I've given up trying to
explain it to non-Ren geeks ;o)  (Kitty in question is striped, with a white
smudge of "paint" on her nose).
I *still* would like to make every dress in that book!  I love the variety
of Spanish and Italian styles, and the paintings as portraits--it's
fascinating to look and see real people, if that makes sense.  I'm not an
art historian, so some of the finer points of the way this hand was painted,
or particular attributions of color choices, etc. escape me entirely, but
it's a wonderful book for the biography and the paintings, even so!
--Sue
----- Original Message -----
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 8:05 AM
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
CenturySpanishpatterns


> Quoting Sue Clemenger <mooncat@in-tch.com>:
>
> > It sure doesn't show up in my book on Anguissola.  There are a couple of
> > portraits of women in black, but neither is one of the Infantas
(assuming
> > you're referring to the daughters of Philip and Isabel...there don't
seem to
> > be any in my book at all of Philip and Anne's children).  In addition,
there
> > are several portraits of the two Infantas, but none of them have any
> > attribute of being a "mourning" outfit.  In the portraits of the girls
when
> > younger, they're wearing a dark, brocaded fabric.  In older portraits,
> > they're wearing mostly black, but so it virtually every other adult from
the
> > Spanish court.
>
> I have to say this is the first time I'd ever seen this one
> http://www.bildindex.de/bilder/fmlac10526_01a.jpg
>
> I *really* want to know how to search that web site!
>
> (Are you looking at the Perlingeri book?  I love that book -- I want a
> copy!)
>
> Susan (ska Jerusha)


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Subject: Re: EQ-Re: [h-cost] Equestrian costumers and other hobbies - sort of
	OT
Date: Sun, 12 Mar 2006 10:37:06 -0500
To: Historical Costume <h-costume@indra.com>
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I am also interested in other people's areas of interest in costumes, 
if only because the people on this list are so knowledgeable and 
willing to share.  I'm sure that I will NEVER attain the fabric related 
skills of many people on this list, but it is so much fun to see what 
others have accomplished.  Brightens up my day with these beautiful 
things

Sg- what type of horse did you buy and what type of costuming are you 
looking to reproduce?

I would also like to share horse stories with you folks.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 12, 2006, at 8:50 AM, WickedFrau wrote:

> Wow!  What an interesting observation!  I too have horses and just 
> recently bought a new one just so I could dress her and myself up!  My 
> other horses are all Quarter horses, and they just don't suit my 
> costuming  tastes.  I had a side saddle made about 10 years ago for 
> this purpose also, but for Annettes reasons, have not gotten around to 
> using if to my cosutming ends.  I would LOVE to have discussion with 
> others of like mind.  Perhaps we could keep our costuming discussions 
> on this list because there are such good resources (and I myself love 
> to read other's posts even if they are outside my current focus.).  
> What if we precededed each of our equestrian posts with an EQ-as I 
> have done, and create a Yahoo group for all the other non-costume 
> related discussions.  (I'd love to shary horse stories, pictures etc.)
>
> Yeah!
>
> Sg
> Kahlara wrote:
>
>> Over the years I have found that most of my creative associations 
>> seem to have at least two or three similarities in other areas as 
>> well as the shared interest in which we first became aquainted.
>>    I have noticed several list members make reference to horses and 
>> riding. I ride and own horses also. I also have made various articles 
>> of riding clothing and costumes for shows over the years (to keep it 
>> close to list topic).
>>    Although each individual is different, there seems to be a range 
>> of interests that most creative people share to one degree or 
>> another. For my part...
>>    horses, cats (or pets in general), costuming, reading, theatre, 
>> good movies, classical and traditional music, gardening, other 
>> artistically creative endeavors such as panting or some type of 
>> crafting, etc. And of course, the list always exceeds the amount of 
>> time available to pursue said interests.
>>    Just a little generalizing. ;-)
>>    Annette M
>>
>>       ---------------------------------
>> Brings words and photos together (easily) with
>> PhotoMail  - it's free and works with Yahoo! Mail.
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>>
>
> _______________________________________________
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It's Sunday morning, and the caffeine has not yet percolated its way into my
brain, so here's a possibly silly question:

is it a good idea to starch the fabric of a ruff *before* or *after* you sew
it together?

Sheridan P.


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Shane & Sheridan wrote:
> It's Sunday morning, and the caffeine has not yet percolated its way into my
> brain, so here's a possibly silly question:
> 
> is it a good idea to starch the fabric of a ruff *before* or *after* you sew
> it together?

After.  If you want the lovely figure-eights to work out right, just sew 
a very tightly gathered band of fabric to the top of your neckband. 
Then soak it in liquid starch and proceed from there.  Full instructions 
of how I do mine are on my website at

http://www.faucet.net/costume/period/ruff.html

The thing is, every time you wash it, the starch all comes out.  So you 
don't want to have to take it all apart every time you have to wash and 
re-starch.  And you will want to wash it--they sit right next to the 
neck and are prey to "ring around the ruff."

Happy starching,
Melanie Schuessler

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As you will be able to quickly tell, the only thing costume related 
about this dish is it's name....of course, there too, there is something 
lacking.  This is an old Dutch recipe of lima & green beans.  I just 
think the name is hilarious, and was wondering if any of you might know 
how far back it goes??  I know I first heard of it back in the 70's....  
And for those of you wondering, it is actually very good.  I am not what 
you would call a Lima bean fan...and I could it bowls of this.

Feel free to respond off list if you feel the topic is too off!

Sg
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Subject: [h-cost] Re: EQ-Naggers and Clothes-was Equestrian costumers....
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My mare is an Andalusian/Arab cross and I am about ready to breed her to 
a full Andalusian.  I am not able to afford the current pure "Andy" 
breed, this is the closest I will be able to come.  My dream is to be 
able to make many different costumes to ride her with.  (I want an 
orange/black [which looks brown] shot taffeta Victorian, side-saddle 
habit  for sure).  My girlfriend has offered to help me make a complete 
hand Inkled tubular breast collar crupper, etc. for a more "Arabick-y" 
style.  I have fiddled with caprisons, making a "chair" sidesaddle etc.  
I am all over the place in time and country in my dreams...check this 
site out...http://www.kreml.ru/en/main/collection/museum/harness/.  (For 
the non-nagger costumer, there are some very cool "regular" costumes too.) 

The closest I have come to riding in costume is at some local SCA events 
in a linen tunic, schooling tights, and  a pair of Ariat Heritage 
packers!   Pretty sad considering my collection of fabrics and ideas.

Love this thread...p.s. I am in the middle of cooking a large historic 
meal today...but will post pictures of my naggers later....They are on 
my webpage somewhere already, but I can't find them!

Sg

Susan Data-Samtak wrote:

> I am also interested in other people's areas of interest in costumes, 
> if only because the people on this list are so knowledgeable and 
> willing to share.  I'm sure that I will NEVER attain the fabric 
> related skills of many people on this list, but it is so much fun to 
> see what others have accomplished.  Brightens up my day with these 
> beautiful things
>
> Sg- what type of horse did you buy and what type of costuming are you 
> looking to reproduce?
>
> I would also like to share horse stories with you folks.
>
> Susan
>

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Subject: [h-cost] European ancestors (was: Danish ancestors)
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On Sun, 12 Mar 2006, Bjarne og Leif Drews wrote:

> Yes in the end all you australian and american, would all be european
> origin.

Well, um, no, not really. 200 years ago, almost true in the US (but there
were still Native Americans and some Africans). Now add the East Asian,
South Asian, Middle Eastern, South American, Pacific Islander, etc. and
the US population is well on its way to being majority non-European --
can't remember the last time I heard a demographic prediction of what year
that would occur, but it's not far off.

Of course every such prediction makes sense only on paper, because in
reality intermarrying gives a lot of people here part-European part-other
ancestry.

Getting this back to costume: This came up on the list a few years ago,
when we were discussing the typical facial characteristics associated with
particular European historical populations, and how historic
costumes/headdress styles generally developed to flatter the dominant
facial "look" of the local population (e.g. Italian, Germanic, Russian,
Flemish) -- something especially true for Medieval and Renaissance periods
when regional populations were mostly homogeneous. In the US, there is no
dominant "look," and indeed many people here do not have features that can
be uniformly compared to any one particular historic population because
most of us have a mix -- even if it's a mix of various European heritages.

As someone pointed out at that time, the difference is noticeable when you
look at a group portrait of a European re-enactment group, when pretty
much everyone in the picture is from the same general gene pool, and it's
close to the same gene pool as the population they're re-enacting. Then
compare that with an American re-enactment group; even if everyone's
dressed to the same place/period, their faces show a huge variety of
features, colors, etc. It's something I've found that the Europeans take
for granted because they're used to looking at the same general type of
faces every day.

Yes, this is changing in much of Europe now, particularly in the larger
cities, but genetically the mixing is way behind what we see in the
States, and it takes a few generations to get a mix significant enough to
affect the overall visual look of a group. Often in a specific locally
based European re-enactment group you can pick out a couple of outliers --
in the American groups all the faces are different from all the others.

It is my costuming bane that I have a face that is Middle Eastern filtered
through Russian, which means I look best in Italian, ethnic Greek, and of
course Russian costume ... none of which I am remotely interested in. No,
I had to get interested in Franco-Flemish, me with the tiny forehead and
heavy dark brows and pointy chin...

--Robin

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There are hundreds and hundreds of fancy (and not so fancy) vintage and 
antique tablecloths, towels, tea towels, bedspreads, handkerchiefs, and 
linens of all sorts on eBay.  Embroidered, printed, crocheted, tatted, 
fringed, woven, plaid, striped, plain, and everything you can think of. 
  You can buy them individually or as part of a big lot, and in 
conditions ranging from perfect to awful.

I was buying embroidered tablecloths to make into skirts for awhile, at 
great prices, but after buying eight or so within a few days I gave up 
browsing the textiles.  There were just too many.  But if you look under 
Collectibles/Linens, Fabric and Textiles or Antiques, Textiles and 
Linens (the latter are generally pricier items), you'll never have to 
spend hours at a flea market again--just in front of your computer.

I had the sense to do a search on "tea towels," after I posted. Irish 
Linen tea towels appear to have been popular since the early 1970s, 
judging by the fact that some are dated (because they're printed with 
calendars for the year).  There are scads on eBay, though most are 
printed with very tacky designs.  I didn't find any William Morris ones 
(even though I've just worn out four in my kitchen, bought from museum 
catalogs at different times).  If anyone is interested, many of the 
towels are listed on eBay for about $5, and they are very effective as 
hand and dish towels.

I got three printed with Book of Kells designs which are a bit bright 
for my taste, but that will fade as they get beat up and washed every 
week (the reason why I passed up all the vintage embroidered ones 
listed--we use the towels heavily).  Also one printed with a picture of 
the Louvre (tea towels seem to be popular tourist items).

Then someone on h-costume, whose message I accidentally deleted, kindly 
sent me a link to the online store of the Country Dance and Song 
Society, where you can buy the Book of Kells towels:

http://www.cdss.org/sales/holiday.html

But if anyone knows anywhere in the US to get more William Morris tea 
towels (I did find some places in England), please let me know.

Fran
Lavolta Press
http://www.lavoltapress.com

Lloyd Mitchell wrote:
> Fran, the only time I have seen any that might be as you describe is at
> antique flea markets...such as Brimfield in Ma. 
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From h-costume-bounces@indra.com  Sun Mar 12 14:06:12 2006
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Subject: Re: [h-cost] Ruff
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Lovely site, Melanie. Your costumes are all wonderful. [Hey...why skip the  
18th century?]
 
Your ruff instructions are great too. I especially like your use of items  
just about anybody can get a hold of! Have you seen Jean Honnisette's ruff  
instructions? She "starches"
 
 and does the 8's BEFORE gathering to the neck band. But of course in  the 
period, this seems unlikely. It makes more sense to me to start with a  gathered 
ruffle and then manipulate it.
 
How did you determine how much yardage to use in the ruff? More would make  
bigger 8's, no? Would you need a goffering iron with a larger diameter?
 
 
Why did you attach the 2nd ruff to the neck of the shirt? If I were  you, I 
take the ruff and neckband off the shirt, put a new band on the shirt and  just 
baste them together to wear. That way washing is easier, fixing the ruff is  
easier, and you can wear the ruff elsewhere...and the shirt w/out a ruff.
 
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From h-costume-bounces@indra.com  Sun Mar 12 14:31:26 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Sun, 12 Mar 2006 20:31:26 +0100
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Hi,
I made one of those big mill stone ruffs years back, but that was before i 
had the pleassure of being educated by all the knolledged people on this 
list. I cut it in the theater cut, with large cirkles with a hole in the 
middle for the neck.
I sewed together all the cirkles 6 in all first, and then i starched it 
ironed it before i started to form the eights by hand and attatched all the 
pleats bit by bit. It was a very difficult job and i had a chair where the 
ruff rested while i made it.
It was the kind of ruff you se in the portraits by Rubens and Frans Hals. 
But now we know that even these large ones was made by yardage of fabric, 
and not cirkles :-(
And even worse, it collapsed few weeks later while exhibited in a cold damp 
room of an old manor house.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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I personally like to starch after it's constructed, then the starch doesn't 
break down when being handled and I can shape the ruff the way I like.

Kelly

----- Original Message ----- 
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 12:30 PM
Subject: [h-cost] Ruff


> It's Sunday morning, and the caffeine has not yet percolated its way into 
> my
> brain, so here's a possibly silly question:
>
> is it a good idea to starch the fabric of a ruff *before* or *after* you 
> sew
> it together?
>
> Sheridan P.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>And even worse, it collapsed few weeks later while exhibited in a cold damp

>room of an old manor house.

What a shame.  All that work for naught.  Did you get a picture before it
"melted"?
 Anne

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Thanks ! This is it!
Best Regards-
Monica

PS-- Where did you find this???

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Susan B. Farmer
Sent: Sunday, March 12, 2006 10:05 AM
To: Historical Costume
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
CenturySpanishpatterns


Quoting Sue Clemenger <mooncat@in-tch.com>:

> It sure doesn't show up in my book on Anguissola.  There are a couple of
> portraits of women in black, but neither is one of the Infantas (assuming
> you're referring to the daughters of Philip and Isabel...there don't seem
to
> be any in my book at all of Philip and Anne's children).  In addition,
there
> are several portraits of the two Infantas, but none of them have any
> attribute of being a "mourning" outfit.  In the portraits of the girls
when
> younger, they're wearing a dark, brocaded fabric.  In older portraits,
> they're wearing mostly black, but so it virtually every other adult from
the
> Spanish court.

I have to say this is the first time I'd ever seen this one
http://www.bildindex.de/bilder/fmlac10526_01a.jpg

I *really* want to know how to search that web site!

(Are you looking at the Perlingeri book?  I love that book -- I want a
copy!)

Susan (ska Jerusha)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From h-costume-bounces@indra.com  Sun Mar 12 15:17:05 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <20060312194940.RHXW4894.eastrmmtao01.cox.net@ANNESCOMPUTER>
Subject: Re: [h-cost] starching ruffs
Date: Sun, 12 Mar 2006 21:17:07 +0100
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Hi Anne,
Yes i did, but only a small paper photo, i tryed to make it better and 
bigger on a computer, with not a good result.
I made it to be worn with a purple dupioni silk wheelfarthingale dress i had 
made with a lot of pearl embroidery on the sleaves and stomacher. Its only 
to laugh at today, dupioni for a renaissance dress, but the museum was poor 
and could not spend money on this.
I received my Tonner Doll and i want to make it an embroidered 
wheelfarthingal dress, after the portrait of Queen Anne of Denmark at the 
Greenwich Museum.
Just have to find the right colour for the dress.

Bjarne
----- Original Message ----- 
From: "Anne Moeller" <ladyanne@quik.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 8:49 PM
Subject: RE: [h-cost] starching ruffs


>
>
>
>>And even worse, it collapsed few weeks later while exhibited in a cold 
>>damp
>
>>room of an old manor house.
>
> What a shame.  All that work for naught.  Did you get a picture before it
> "melted"?
> Anne
>
> -- 
> No virus found in this outgoing message.
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>
>
> _______________________________________________
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> 


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BTW, for those in the San Francisco area (or willing to travel, as some 
people do), the spring San Francisco Vintage Fashion Expo is being held 
on March 18 and 19.  Details on:

http://www.vintagefashionexpo.com/ve.htm

Fran
Lavolta Press
http://www.lavoltapress.com
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From: " Lalah" <lalahcatlady@NETSCAPE.COM>
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Subject: Re: [h-cost] Source for aesthetic style silk
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That is cruel!  There is a William Morris fabric in that lot that would be perfect for my bedroom drapes.  I only need twenty yards and it only runs $110.00 a yard.  Now if I ever win the lottery I know where to look for my fabric.  
Lalah, Never give up, Never surrender

--- alderweb@vaxxine.com wrote:

From: david webb <alderweb@vaxxine.com>
To: Historical Costume <h-costume@indra.com>
Cc:
Subject: [h-cost] Source for aesthetic style silk
Date: Sun, 12 Mar 2006 01:25:59 -0500

Greetings:

At $345 Canadian a yard - not even in metres! I'm glad I'm not interested 
in  doing anything in the aesthetic style, but it shure nuff is purty! 
"This rich silk fabric is based on an original made in England in the 
1880's. The document (original) colour is in a Robin's Egg blue on Cream, 
but it is offered in six other colours as well."

http://www.charlesrupert.com/traditional/1880to1900/aestheticsilk.html

This company has a wide variety of reproduction wallpapers and textiles  too.

Sheridan Alder

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From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] Ruff
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IMNTBHO, before
Sarah P.
----- Original Message ----- 
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 12:30 PM
Subject: [h-cost] Ruff


> It's Sunday morning, and the caffeine has not yet percolated its way into 
> my
> brain, so here's a possibly silly question:
>
> is it a good idea to starch the fabric of a ruff *before* or *after* you 
> sew
> it together?
>
> Sheridan P.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Ruff
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One of my ruffs is made from silk organza, and lace, it was pretty stiff 
before I starched it.  It is actually easier to work with IMHO than 
something soft and flimsy....
Having done it both ways I prefer something with substance.

Sg

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Date: Sun, 12 Mar 2006 17:59:18 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Ruff
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At 18:22 12/03/2006, you wrote:
>Shane & Sheridan wrote:
>>It's Sunday morning, and the caffeine has not yet percolated its way into my
>>brain, so here's a possibly silly question:
>>is it a good idea to starch the fabric of a ruff *before* or *after* you sew
>>it together?
>
>After.  If you want the lovely figure-eights to work out right, just 
>sew a very tightly gathered band of fabric to the top of your 
>neckband. Then soak it in liquid starch and proceed from 
>there.  Full instructions of how I do mine are on my website at
>
>http://www.faucet.net/costume/period/ruff.html
>
>The thing is, every time you wash it, the starch all comes out.  So 
>you don't want to have to take it all apart every time you have to 
>wash and re-starch.  And you will want to wash it--they sit right 
>next to the neck and are prey to "ring around the ruff."


If you use straw stiffener (millinery supplies) you stiffen it first, 
then form the eights and glue or sew them (glueing "is" authentic, or 
rather sticking with gum arabic IIRC). You don't wash, but clean with 
water, and re-stiffen with steam every time it goes limp. Useful for 
theatre, where you haven't time to do every ruff every time.

Suzi



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Date: Sun, 12 Mar 2006 15:23:28 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: looking for a painting (was:)RE: [h-cost] Re:16th
	CenturySpanishpatterns
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Thank you so much!
Your website is amazing!!!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of michaela
Sent: Saturday, March 11, 2006 10:06 PM
To: Historical Costume
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
CenturySpanishpatterns


> About 10 years ago there was a Sofanisba Anguisola(sp) exhibit down at the
> Museum of Women in the Arts  in Washington DC. There was a rather large
> painting of an Infanta (Spanish princess) who was the daughter of Philip
II.
> She was wearing mourning for her mother and was in all black-- including
her
> jewelry. Has anyone else ever seen this? It is supposed to be ion the
Prado,
> but I have never seen it reproduced anywhere.  If you know where I can
find
> this, please let me know! Thanks.


Let me know if its one of the paintings here:
http://sayaespanola.glittersweet.com

Otherwise I have a few books at the local fine arts library I can have a
hunt trhough and see if there is similar painting.

I have a few more portraits I haven't uploaded/linked to in my site so it
may be I have it on file and not on the web.

michaela de bruce
http://glittersweet.com



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Subject: [h-cost] RE: ruff
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I have made several ruffs using both before and after starching methods.  I
find if I prep the fabric by starching it and ironing it first, I get a
much better result when I start the pleating.  Its a method I read about in
Jean Hunniset's Stage to screen.
While I am not a scholar on the subject, I have done some prelim research
on it. 
http://thevilla.sccspirit.com/sisters/gwen_projects.htm

Gwenhwyfar 


Message: 4
Date: Sun, 12 Mar 2006 11:30:41 -0500
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
Subject: [h-cost] Ruff
To: "Historical Costume" <h-costume@indra.com>
Message-ID: <009801c645f2$83d64e20$0a02a8c0@nodomainset.bellcanada>
Content-Type: text/plain;	charset="iso-8859-1"

It's Sunday morning, and the caffeine has not yet percolated its way into my
brain, so here's a possibly silly question:

is it a good idea to starch the fabric of a ruff *before* or *after* you sew
it together?

Sheridan P.




------------------------------

Message: 5
Date: Sun, 12 Mar 2006 12:47:25 -0400
From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] Ruff
To: Historical Costume <h-costume@indra.com>
Message-ID: <003201c645f4$a4d2c110$04000100@THIRDFLOOR>
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IMNTBHO, before
Sarah P.
----- Original Message ----- 
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 12:30 PM
Subject: [h-cost] Ruff


> It's Sunday morning, and the caffeine has not yet percolated its way into 
> my
> brain, so here's a possibly silly question:
>
> is it a good idea to starch the fabric of a ruff *before* or *after* you 
> sew
> it together?
>
> Sheridan P.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



------------------------------

Message: 6
Date: Sun, 12 Mar 2006 12:22:38 -0600
From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost] Ruff
To: Historical Costume <h-costume@indra.com>
Message-ID: <441466EE.3080808@faucet.net>
Content-Type: text/plain; charset=us-ascii; format=flowed

Shane & Sheridan wrote:
> It's Sunday morning, and the caffeine has not yet percolated its way into
my
> brain, so here's a possibly silly question:
> 
> is it a good idea to starch the fabric of a ruff *before* or *after* you
sew
> it together?

After.  If you want the lovely figure-eights to work out right, just sew 
a very tightly gathered band of fabric to the top of your neckband. 
Then soak it in liquid starch and proceed from there.  Full instructions 
of how I do mine are on my website at

http://www.faucet.net/costume/period/ruff.html

The thing is, every time you wash it, the starch all comes out.  So you 
don't want to have to take it all apart every time you have to wash and 
re-starch.  And you will want to wash it--they sit right next to the 
neck and are prey to "ring around the ruff."

Happy starching,
Melanie Schuessler


Message: 9
Date: Sun, 12 Mar 2006 10:47:45 -0700
From: WickedFrau <wickedfrau@msn.com>
Subject: Re: [h-cost] Ruff
To: Historical Costume <h-costume@indra.com>
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One of my ruffs is made from silk organza, and lace, it was pretty stiff 
before I starched it.  It is actually easier to work with IMHO than 
something soft and flimsy....
Having done it both ways I prefer something with substance.

Sg


Message: 11
Date: Sun, 12 Mar 2006 17:59:18 +0000
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Ruff
To: Historical Costume <h-costume@indra.com>
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If you use straw stiffener (millinery supplies) you stiffen it first, 
then form the eights and glue or sew them (glueing "is" authentic, or 
rather sticking with gum arabic IIRC). You don't wash, but clean with 
water, and re-stiffen with steam every time it goes limp. Useful for 
theatre, where you haven't time to do every ruff every time.

Suzi



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Subject: [h-cost] Anguissola
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I also have a copy of Sofonisba Anguissola - First Great women Artist of 
the Renaissance which is the English translation of:
Sofonisba Anguissola - Femme Peintre de La Renaissance by Ilya Sandra 
Perlingieri  Liana Levi Editeur, Paris (1992)  pp.223, ills..

Has anyone seen the one by Flavio Caroli. Published in  Milan,1987. 
Hardcover (Italian) Pp. 255. With catalogue of 42 works and reproductions. 
List of 24 attributed works also reproduced. List of works mentioned in 
historical sources;

or the large monograph: SOFONISBA ANGUISSOLA E LE SUE SORELLE by GREGORI, 
M. (e altri) Corsico 1994. Bross., cm 28x24, pp 437, numer. ill. a colori e 
b/n

Thanks,
Beth Matney 

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Subject: RE: [h-cost] Ruff
Date: Sun, 12 Mar 2006 16:05:32 -0800
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If you put an extra layer on the inside of the ruff neckband, you can take
that off to wash and sew on again more easily.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Melanie Schuessler
Sent: Sunday, March 12, 2006 10:23 AM
To: Historical Costume
Subject: Re: [h-cost] Ruff


Shane & Sheridan wrote:
> It's Sunday morning, and the caffeine has not yet percolated its way 
> into my brain, so here's a possibly silly question:
> 
> is it a good idea to starch the fabric of a ruff *before* or *after* 
> you sew it together?

After.  If you want the lovely figure-eights to work out right, just sew 
a very tightly gathered band of fabric to the top of your neckband. 
Then soak it in liquid starch and proceed from there.  Full instructions 
of how I do mine are on my website at

http://www.faucet.net/costume/period/ruff.html

The thing is, every time you wash it, the starch all comes out.  So you 
don't want to have to take it all apart every time you have to wash and 
re-starch.  And you will want to wash it--they sit right next to the 
neck and are prey to "ring around the ruff."

Happy starching,
Melanie Schuessler

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To: Historical Costume <h-costume@indra.com>
Subject: Re: looking for a painting (was:)RE: [h-cost] Re:16th
	CenturySpanishpatterns
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Quoting Sue Clemenger <mooncat@in-tch.com>:

> Perlingeri it is! <weg> I lucked into getting one 12 or 13 years ago at an
> SCA event (Estrella War)  At the time, I was heavily into late 16th century
> clothing, so finding it was like finding "the god book," especially since it
> was some time before QEUnlocked came out.   And Anguissola being a woman
> made the whole thing that much sweeter.

Lucky you!  It's on my Amazon Wish List ...  and I get to keep the
Libraries copy until I graduate!  :-D  My other Favorite Artist Book is
the one on Lavinia Fontana by Murphy.

> My oldest cat is named "Sofi," after the artist, but I've given up trying to
> explain it to non-Ren geeks ;o)  (Kitty in question is striped, with a white
> smudge of "paint" on her nose).

If I hadn't been Jerusha for so many years, I would have been so tempted
to choose either Sofonisba or Artemesia for a name.

> I *still* would like to make every dress in that book!  I love the variety
> of Spanish and Italian styles, and the paintings as portraits--it's
> fascinating to look and see real people, if that makes sense.  I'm not an
> art historian, so some of the finer points of the way this hand was painted,
> or particular attributions of color choices, etc. escape me entirely, but
> it's a wonderful book for the biography and the paintings, even so!

Oh, yeah.  Have you seen the "new" book on Eleanor of Toledo (Moda a
Firenze)?  More gorgeous paintings -- most of which I had *never* seen
before!

Jerusha
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] Anguissola
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Quoting Beth and Bob Matney <bmatney@alltel.net>:

> I also have a copy of Sofonisba Anguissola - First Great women Artist 
> of the Renaissance which is the English translation of:
> Sofonisba Anguissola - Femme Peintre de La Renaissance by Ilya Sandra 
> Perlingieri  Liana Levi Editeur, Paris (1992)  pp.223, ills..
>
> Has anyone seen the one by Flavio Caroli. Published in  Milan,1987. 
> Hardcover (Italian) Pp. 255. With catalogue of 42 works and 
> reproductions. List of 24 attributed works also reproduced. List of 
> works mentioned in historical sources;
>
> or the large monograph: SOFONISBA ANGUISSOLA E LE SUE SORELLE by 
> GREGORI, M. (e altri) Corsico 1994. Bross., cm 28x24, pp 437, numer. 
> ill. a colori e b/n

OOh, no.  Never seen the other two!

Jerusha (adding them to my list!)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10603121207240.12826-100000@shell.nightowl.net>
Subject: Re: [h-cost] European ancestors (was: Danish ancestors)
Date: Sun, 12 Mar 2006 18:40:24 -0700
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You looked very "Eastern European/Jewish" to me when I met you a few years
ago--think it's your darkish coloring, and all that hair, of which I'm
*still* jealous. <g>
Although not of Scandinavian extraction in the *least,* I did grow up in an
area settled by a lot of Norwegians, and my family (of generally British
Isles extraction ranging from 1 to 4 centuries in the US) did NOT look like
my neighbors, who tended to be tall, very blonde, and with that fair skin
blondes get.  With me, it was even more noticeable than the rest of the
family, as I seem to have reverted to some odd combination of recessives
(very fair skin with a strong tendency to freckle and blush, blue eyes and
dark hair).  It wasn't until I went to Ireland a few years ago, that I
actually saw a lot of people whom I resembled--it was both odd, and really
cool, to see folks with the same kind of coloring, height, etc.  I figure
I'm just a genetic quirk combining various Irish ancestors (and perhaps the
Scots side as well).
A couple of friends in my local SCA group are half generic American and half
Syrian, and the range of skin tones, hair color/type, and other facial
features in the family is actually quite various.
I've never figured out quite what ethnic type I would best suit, historical
costuming-wise.  My particular genetic pool wasn't much painted or
portraited ;o).  The closest I've come is some of those 16th c. Flemish
marketwomen in the genre paintings.
--Sue

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 11:28 AM
Subject: [h-cost] European ancestors (was: Danish ancestors)


>
> On Sun, 12 Mar 2006, Bjarne og Leif Drews wrote:
>
> > Yes in the end all you australian and american, would all be european
> > origin.
>
> Well, um, no, not really. 200 years ago, almost true in the US (but there
> were still Native Americans and some Africans). Now add the East Asian,
> South Asian, Middle Eastern, South American, Pacific Islander, etc. and
> the US population is well on its way to being majority non-European --
> can't remember the last time I heard a demographic prediction of what year
> that would occur, but it's not far off.
>
> Of course every such prediction makes sense only on paper, because in
> reality intermarrying gives a lot of people here part-European part-other
> ancestry.
>
> Getting this back to costume: This came up on the list a few years ago,
> when we were discussing the typical facial characteristics associated with
> particular European historical populations, and how historic
> costumes/headdress styles generally developed to flatter the dominant
> facial "look" of the local population (e.g. Italian, Germanic, Russian,
> Flemish) -- something especially true for Medieval and Renaissance periods
> when regional populations were mostly homogeneous. In the US, there is no
> dominant "look," and indeed many people here do not have features that can
> be uniformly compared to any one particular historic population because
> most of us have a mix -- even if it's a mix of various European heritages.
>
> As someone pointed out at that time, the difference is noticeable when you
> look at a group portrait of a European re-enactment group, when pretty
> much everyone in the picture is from the same general gene pool, and it's
> close to the same gene pool as the population they're re-enacting. Then
> compare that with an American re-enactment group; even if everyone's
> dressed to the same place/period, their faces show a huge variety of
> features, colors, etc. It's something I've found that the Europeans take
> for granted because they're used to looking at the same general type of
> faces every day.
>
> Yes, this is changing in much of Europe now, particularly in the larger
> cities, but genetically the mixing is way behind what we see in the
> States, and it takes a few generations to get a mix significant enough to
> affect the overall visual look of a group. Often in a specific locally
> based European re-enactment group you can pick out a couple of outliers --
> in the American groups all the faces are different from all the others.
>
> It is my costuming bane that I have a face that is Middle Eastern filtered
> through Russian, which means I look best in Italian, ethnic Greek, and of
> course Russian costume ... none of which I am remotely interested in. No,
> I had to get interested in Franco-Flemish, me with the tiny forehead and
> heavy dark brows and pointy chin...
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: looking for a painting (was:)RE: [h-cost] Re:16th
	CenturySpanishpatterns
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Quoting monica spence <monicaspence@optonline.net>:

> Thanks ! This is it!
> Best Regards-
> Monica
>
> PS-- Where did you find this???

I think the link to this was on the glittersweet page.  Basically, I did
a Google Image Search for "Anguissola Infanta" and that was the only one
that was all in black!  I know that there's some gorgeous paintings of
her on the bildindex site -- I just don't know how to find them!  I've
got a thumbnail page printed, but I can't get "back to that page."

*sigh*

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: looking for a painting (was:)RE: [h-cost]
	Re:16thCenturySpanishpatterns
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I've seen it talked about, but not met in person, if you know what I mean.
I'm on a lean-and-mean budget for a couple of months, but hope to buy it
when things even out....
--Sue

----- Original Message -----
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 5:56 PM
Subject: Re: looking for a painting (was:)RE: [h-cost]
Re:16thCenturySpanishpatterns


> Oh, yeah.  Have you seen the "new" book on Eleanor of Toledo (Moda a
> Firenze)?  More gorgeous paintings -- most of which I had *never* seen
> before!


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Subject: [h-cost] Show and Tell: Take Two
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A while ago I had posted some photos of a couple of my (mostly) finished
projects. I couldn't seem to get the site I was using to upload more than
the two pictures. I'm trying out the Kodak site instead. (Someone had set up
an album at Christmas time just for H-costume, where is that one again? It
might be easier...)

Sheridan P.

> http://www.kodakgallery.com/I.jsp?c=6ru1o2u.m957jna&x=1&y=-x8qkr7
>
> If you'd like to save this album, just sign in, or
> if you're new to the Gallery, create a free account.
> Once you've signed in, you'll be able to view this
> album whenever you want and order Kodak prints of
> your favorite photos.
>
> Enjoy!
>
> Instructions: Click view photos to begin. If you're
> an existing member you'll be asked to sign
> in. If not, you can join the Gallery for free.
> http://www.kodakgallery.com/Register.jsp
>
> Questions? Visit http://help.kodakgallery.com.


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: looking for a painting (was:)RE: [h-cost]
	Re:16thCenturySpanishpatterns
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Quoting Sue Clemenger <mooncat@in-tch.com>:

> I've seen it talked about, but not met in person, if you know what I mean.
> I'm on a lean-and-mean budget for a couple of months, but hope to buy it
> when things even out....

I know *exactly* what you mean!  The one copy that I've fondled to date
I saw through InterLibrary Loan.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] RE: layers  still: Ruff
Date: Sun, 12 Mar 2006 21:33:23 -0600
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-----Original Message-----
<<<I'm trying to picture how this could work with three layers.  The
innermost layer of any loop is always the outermost layer of the next
loop.  Are you picturing two lighter weight layers with a heavier layer in
between?>>>

*yes

As far as extra fullness in some layers and not others, I can't see how it
could work.  If you had two lightweight layers with a heavier one
between, and both lightweight layers had more fullness than the heavier
layer, you'd end up with too much on the outside of every loop.

Try your method in paper and see if it works.

I think the lightweight vs. heavier layers in the painting may be an
illusion and that Occam's Razor is our friend here.

Cheers,
Melanie

*I'll try it when I get a chance. Mother nature seems to want my attention.
Another hail and tornado storm headed my way.:P

De


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Show and Tell: Take Two
Date: Sun, 12 Mar 2006 23:09:20 -0500
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On Sunday 12 March 2006 9:21 pm, Shane & Sheridan wrote:
> A while ago I had posted some photos of a couple of my (mostly) finished
> projects. I couldn't seem to get the site I was using to upload more than
> the two pictures. I'm trying out the Kodak site instead. (Someone had set
> up an album at Christmas time just for H-costume, where is that one again?
> It might be easier...)

It won't let you see anything until you sign up for a free account.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] European ancestors (was: Danish ancestors)
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On Sun, 12 Mar 2006, Sue Clemenger wrote:

> You looked very "Eastern European/Jewish" to me when I met you a few
> years ago--think it's your darkish coloring, and all that hair, of
> which I'm *still* jealous. <g>

Partly because of the strong cultural tendency for
marriage-within-the-faith, I'm 100% Russian Jewish (so figure some distant
Middle Eastern roots way back somewhere). But I'm only second-generation
American. My kids, another generation into the American mixing bowl, are
half Ashkenazic, with the other half being mostly English with some French
Canadian and who-knows-what mixed in. Two completely incompatible looks --
when you see my parents and my in-laws together, you can immediately see
they're from different genetic pools. But I can see elements of both in my
kids' facial features. I daresay there's no historic "look" that quite
matches that!

--Robin

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-----Original Message-----
<<<Yes in the end all you australian and american, would all be european origin.>>>>

*Not quite. There are a those with indigenous family genes mixed in. :)

<<<Wish i had the warmth here as they have in Australia. We have had frost for months now, and we long to get some spring here ................ My kitchen where i sit with the puter, is not heated, so you dont want to stay here very long.

Bjarne>>>>

*For the past two day my state/USA has been going through it's version of the rites of Spring. Hail from pea size to softball size and today there was approximately 14 tornadoes and a few funnels. Luckily I'm fine but will be seeing the insurance people about a new windshield and if the new texturing on the hood, trunk and roof can be smoothed out Think 5 minutes downpour, nonstop and switch the drops with hail and you might get a picture of how much texturing is there. :P The most of the gutter screens are ripe to shreds. Had a plastic bucket outside, flipped over. It now has 2" holes in it. The outdoor lounge chairs covering is shredded. I have never seen hail this bad in my area. Tornadoes, yes but hail, no.
De 



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Flemish (was RE: [h-cost] tippets ...
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I was just going through some stacked-up e-mail -- I tend to catch up in
fits and spurts, so sometimes miss things. Plus I have dial-up, so
anything that requires lots of image-heavy downloads gets set aside till I
have *time*.

Anyway, Susan posted lots of picture links. I haven't looked at all of
them but of the ones I did see -- yes, as you indicated, lots of Flemish
15th-16th c. fantasy. I took so many pictures of these sorts of weird
dresses in Belgium! In addition to the fact that they're all on
religious/historic/symbolic figures, it's also useful to note that you
rarely find two that are anywhere near alike, which makes it even more
obvious that these aren't meant to represent fashionable wear! The
"regular" clothing (on portraits, and in genre scenes) tends to be
cast-of-a-mold with relatively small differences in features.

Rule of thumb: The rarer it is, the less likely to be real.

http://img.photobucket.com/albums/v420/hitomi_gehrig/14th%20Century/Roncolo6.gif

> > I thought that the dress has a front panel because of the white dots running
> > down the "seam".
> 
> I thought that they were buttons!

The white dots are almost certainly buttons. I have no idea why she's all
stripey, but from her headgear, I wouldn't lay bets that she's a real
person, so I'd withhold judgement on this one without knowong the context.
Of course, if she's Italian, there's no telling.

Another rule of thumb: It's a bad idea to try to reproduce a costume from
an artwork without knowing something about the artwork.

> Virgin with Saints (Barbara & Catherine of Alexandria)
> http://www.wga.hu/art/b/benson/lou_135.jpg

Not too weird, these. Catherine's outfit pays lip service to the
by-now-required surcote but still is an attempt to make her look within
range of the accepted fashion. The Barbara is quite passable but very rich
as befits the princess she is; the fur oversleeves might be over the top.
Headdress is all symbolic on both.

> and one of my personal favorites -- dig the pink "3 piece suit" on the
> saint in the right panel
> http://www.wga.hu/art/m/master/zunk_fl/16_paint/2/05adorat.jpg

I think that's meant to be a dress that's hitched up at the waist/hip and
bloused over. Still dripping with fantasy/foreign elements.

> Elijah & the Widow of Zarapeth -- dig the sleeves
> http://www.wga.hu/art/m/master/zunk_fl/16_paint/1/04adora2.jpg

I think she's pretty realistic. I've seen those sleeves elsewhere. I think
I saw this one in person, or one much like it, and took pictures -- not
for the sleeve, but for the fitting at the back waist. IIRC, there's a
horizontal seam at the top of the pleats, but it sort of comes out of
nowhere -- it doesn't go beyond the pleated area. I would have to find the
slides to confirm that, though. This is not the only gown I saw that on;
it's some sort of technique for fitting over the rump. I can think of two
or three ways to do it.

> again symbolic/allegrical, but you got 4 "normal" gowns and that odd
> thing in the lower left
> http://www.goldsword.com/sfarmer/Paintings/flemish_CharlesBold.jpg

None of these women are "normal," though the one at the lower right looks
realistic.  The one on the throne is a rather straighforward queenly image
plus a sword -- I think she's Justice. Oh yes, there it is above her head,
the first word in the inscription.

As for the four women upholding the coat-of-arms: See those words written
on their skirts? Those are labels, so you know what characteristic or
attribute they stand for. They are too dark to read as-is, but playing
around in a photo editor, I think the upper left one might be "Veritas,"
and the lower left is sage-something. The lower right one is clear:
Sobrietas, or Sobriety. Now we know why she has no fantastical elements to
her dress!

--Robin

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Subject: [h-cost] Monogram alphabets  "Regency"
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Anybody point me at a source for "Regency" alphabets for embroidering 
monograms on shirts? (I have a few from "La Belle Assemblee" but they 
are mostly later, and more suitable for ladies' handkerchiefs as they 
are rather fancy.) The date of the costume is actually 1808, so I 
know it is not technically Regency,. I could make one up as I go 
along, but it would be really good to have a source. (It might give 
me an excuse to use my new tambour equipment I bought in a rush after 
the new 18th century embroidery book turned up!!)

Suzi


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 But I can see elements of both in my
> kids' facial features. I daresay there's no historic "look" that quite
> matches that!
>
> --Robin

I imagine you are right!

My grandmother was half English, half Norwegian, and I look just like 
her--my hair is even turning the same beautiful silver hers did, instead of 
just gray--so, whatever look that combo produces is me, though in truth, I'm 
definitely a genetic mutt. I have just enough Native America filtered in 
from my mom's side to make me turn coppery when I tan.

My husband, on the other hand, is 100% Roman Catholic Polish, and only 
second generation American. The boys look mostly like him, with just traces 
of me in their features. I'm thinking of researching Polish garb for them, 
because I think it would suit them, though the Skinny Monkey Boy prefers the 
Neanderthal look--as little clothing as possible! LOL.

Dianne 

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AlbertCat@aol.com wrote:
> Lovely site, Melanie. Your costumes are all wonderful. [Hey...why skip the  
> 18th century?]

:)  I have one 18th-c that I made in high school, so it's not quite up 
to par with the rest of what's up there.  I need to make a new one for 
teaching costume history, but other things are higher priority right now.

> Your ruff instructions are great too. I especially like your use of items  
> just about anybody can get a hold of! Have you seen Jean Honnisette's ruff  
> instructions? She "starches" 
>  and does the 8's BEFORE gathering to the neck band. But of course in  the 
> period, this seems unlikely. It makes more sense to me to start with a  gathered 
> ruffle and then manipulate it.

Me too.  I hadn't looked at Hunnisett for ruffs because she focuses on 
theatrical applications.  I've just pulled her out, and she gives 
several good versions for the stage.  It's true that most theatres can't 
do all the restarching and setting that I do on mine.

She shows several that are box-pleated into the band instead of 
gathered, and I did actually pleat one of my early ones thinking that 
that would make it easier to figure out where the figure-eights would 
go.  It just makes it much harder to starch!  The gathers (or really 
really tiny cartridge pleats) are really necessary so that the fullness 
can spring almost immediately from tightly gathered into the neckband to 
spread wide into the figure-eights.  These gathers and the "springing" 
action are quite visible in some portraits from the second half of the 16th.

The first ruff I did was theatrical-style, made with plastic horsehair 
braid and cartridge-pleated to a neckband.  Then I made a doublet with a 
standing collar and found that they didn't get along because the length 
of my neck was taken up with the ruff band.

The way I do my ruffs now is not only more accurate, it works better. 
With all of the ruff springing from the top of the band, it sits nicely 
behind a standing collar, and since I dry them upside-down after 
starching, they cradle the face like those in the portraits rather than 
just sitting out flat.

> How did you determine how much yardage to use in the ruff?

I use math!  I make some sample figure-eights of the size I want them to 
be, and then see how much flat fabric it takes to make, say, a 
three-inch-long section of figure-eights.  Then I decide how wide the 
ruff will be from neck edge to hem edge and work from my neck 
circumference to find the ruff circumference.  If the ruff is, for 
example, 36" around, and it takes 12" of flat fabric to make a 3" 
section of figure-eights, I'll need 144" of fabric.

>    More would make bigger 8's, no? Would you need a goffering iron with a 
larger diameter?

Yes.  I have two of them.  The trick is figuring out just how big the 8s 
should be each time you starch the things.  If you make them too tall, 
there will be spaces between them because there won't be enough of them 
to make it all the way around.

> Why did you attach the 2nd ruff to the neck of the shirt? If I were  you, I 
> take the ruff and neckband off the shirt, put a new band on the shirt and  just 
> baste them together to wear. That way washing is easier, fixing the ruff is  
> easier, and you can wear the ruff elsewhere...and the shirt w/out a ruff.

True.  It was an experiment, and we do know that early ones were 
attached.  But ones of that size, probably not, and I wouldn't do it 
again.  It makes it much harder to restarch.

Cheers,
Melanie




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Sharon at Collierfam.com wrote:
> If you put an extra layer on the inside of the ruff neckband, you can take
> that off to wash and sew on again more easily.

Yes, but the tops of mine also get dirty where they touch my chin, as I 
unfortunately have oily skin.  Plus the shaping of the starch starts to 
"break down" after a few wearings just from getting bashed about hugging 
people, leaning back against things, and the exigencies of travel.  I do 
have a nice "case" for carrying them in, but starch is a temporary thing.

It just makes me appreciate the hard work of all those starchers in the 
16th and 17th centuries!

Now I'm curious:  how many people actually starch their ruffs after 
they're made like I do?

Melanie Schuessler
http://www.faucet.net/costume

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Greetings!

I am new to the list. I have a BFA in a theater from the University of 
Georgia (US) in both performance and costume design. I went on into 
computer science, but have continued costuming, mostly in community 
theater settings.

I have a question about the fabric/material used in the Beham "Portrait 
of a Man", German/Bavarian, 1529. My original guess was a velvet, but 
looking closer at the image, especially the cut-work in the trim and 
collar, I have begun wondering if this was a suede of some kind. I am 
curious as to what fabrics would be likely.

Here is a good link to the portrait. Clicking on the image brings up a 
larger view that can go up to 200% of the image to see more of the detail.
http://www.wga.hu/html/b/beham/barthel/portrait.html

Thanks!
Lonnie




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From h-costume-bounces@indra.com  Mon Mar 13 08:39:38 2006
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Greeting from a fellow UGA grad. I have MFA in Fabric Design with a minor in 
computer art. 1997 grad. Miss it too. I'm now in PA... waaayyy up north. I 
miss the warmth of the south but not the tornados.
Where are you?
----- Original Message ----- 
From: "Lonnie D. Harvel" <ldh@ece.gatech.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 8:26 AM
Subject: [h-cost] Greetings and question about a painting


>
> Greetings!
>
> I am new to the list. I have a BFA in a theater from the University of 
> Georgia (US) in both performance and costume design. I went on into 
> computer science, but have continued costuming, mostly in community 
> theater settings.
>
> I have a question about the fabric/material used in the Beham "Portrait of 
> a Man", German/Bavarian, 1529. My original guess was a velvet, but looking 
> closer at the image, especially the cut-work in the trim and collar, I 
> have begun wondering if this was a suede of some kind. I am curious as to 
> what fabrics would be likely.
>
> Here is a good link to the portrait. Clicking on the image brings up a 
> larger view that can go up to 200% of the image to see more of the detail.
> http://www.wga.hu/html/b/beham/barthel/portrait.html
>
> Thanks!
> Lonnie
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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I am on the research faculty at Georgia Tech, but a couple of years ago, 
my wife and I moved back to Athens, GA (location of UGA for the 
non-alumni). A bit of a commute, but I don't go in to campus every day.

Lonnie,
p.s. I graduated with the BFA in 1985.

Becky wrote:

> Greeting from a fellow UGA grad. I have MFA in Fabric Design with a 
> minor in computer art. 1997 grad. Miss it too. I'm now in PA... 
> waaayyy up north. I miss the warmth of the south but not the tornados.
> Where are you?
> ----- Original Message ----- From: "Lonnie D. Harvel" 
> <ldh@ece.gatech.edu>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, March 13, 2006 8:26 AM
> Subject: [h-cost] Greetings and question about a painting
>
>
>>
>> Greetings!
>>
>> I am new to the list. I have a BFA in a theater from the University 
>> of Georgia (US) in both performance and costume design. I went on 
>> into computer science, but have continued costuming, mostly in 
>> community theater settings.
>>
>> I have a question about the fabric/material used in the Beham 
>> "Portrait of a Man", German/Bavarian, 1529. My original guess was a 
>> velvet, but looking closer at the image, especially the cut-work in 
>> the trim and collar, I have begun wondering if this was a suede of 
>> some kind. I am curious as to what fabrics would be likely.
>>
>> Here is a good link to the portrait. Clicking on the image brings up 
>> a larger view that can go up to 200% of the image to see more of the 
>> detail.
>> http://www.wga.hu/html/b/beham/barthel/portrait.html
>>
>> Thanks!
>> Lonnie
>>
>>
>>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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> _______________________________________________
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From h-costume-bounces@indra.com  Mon Mar 13 08:52:04 2006
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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Greetings and question about a painting
In-reply-to: <441572FB.1010608@ece.gatech.edu>
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Hi Lonnie and welcome!
I'm a theatre person too (BA and MA in theatre costume), and pretty new to
this list. I'm familiar with this painting-- I do 16th C. Clothing in the
SCA-- so here's my advice:

I think the doublet drapes too well in the sleeve to be suede. Looks like
velvet to me-- you might try heavy cotton velvet, not that awful acetate
velvet that they sell for clothing , to reproduce this. Make sure there is
no plastic backing on the fabric if you use upholstery velvet. The person
wearing it will just die under the lights!

Best Regards-
Monica Spence
(Catriona MacDuff in the SCA)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lonnie D. Harvel
Sent: Monday, March 13, 2006 8:26 AM
To: Historical Costume
Subject: [h-cost] Greetings and question about a painting



Greetings!

I am new to the list. I have a BFA in a theater from the University of
Georgia (US) in both performance and costume design. I went on into
computer science, but have continued costuming, mostly in community
theater settings.

I have a question about the fabric/material used in the Beham "Portrait
of a Man", German/Bavarian, 1529. My original guess was a velvet, but
looking closer at the image, especially the cut-work in the trim and
collar, I have begun wondering if this was a suede of some kind. I am
curious as to what fabrics would be likely.

Here is a good link to the portrait. Clicking on the image brings up a
larger view that can go up to 200% of the image to see more of the detail.
http://www.wga.hu/html/b/beham/barthel/portrait.html

Thanks!
Lonnie




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Has anyone here ever ordered from this company? "Cluny Lace Co, Ltd." 
Their laces look very nice.  I am about to do a project requiring
large amounts of lace trim and I am looking for a good source.

http://www.clunylace.com/index.htm

--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Has anyone here ever ordered from this company? "Cluny Lace Co, Ltd." 
Their laces look very nice.  I am about to do a project requiring
large amounts of lace trim and I am looking for a good source.

http://www.clunylace.com/index.htm

--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

_______________________________________________
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Subject: Re: [h-cost] Monogram alphabets  "Regency"
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In a message dated 3/13/2006 6:46:03 A.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

Anybody  point me at a source for "Regency" alphabets for embroidering 
monograms on  shirts? 


Men's shirts, as well as women's body linen and household linens, were  
generally marked with what is called "marking stitches."  This is basically  little 
tiny cross stitches, kind of like counted thread stitching, and consist  of 
the person's initials and perhaps a number, if you have more than 1.   You can 
probably find a graph for these, but they are easy to work out  yourself.  
They didn't go in for fancy monogramming--at least, I have never  seen any.
 
Ann Wass
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Medieval clerical underwear
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Below forwarded from another list. I could swear we've talked about this
before -- it's in one of the monastic rules, I think, perhaps the passage
that mentions "femoralia" that gets brought up every so often? Anyone have
a source?


---------- Forwarded message ----------

I think that medieval monastic legislation on dress often specified that
underwear had to be worn by monks or friars when going outside the
monastery: i.e. there was a pragmatic concern for modesty when travelling
about, which would not apply, of course, at burial. I've just looked in
Giancarlo Rocca, ed., La sostanza dell'effimero: gli abiti degli ordini
religiosi in occidente (Rome: Edizioni Paoline, 2000) for verification,
but without success. Someone else may have a source to hand.

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From: monica spence <monicaspence@optonline.net>
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Subject: [h-cost] New Topic:  drawstring necklines on chemises
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Hi All-
I subbed as the instructor for a Clothing History class a couple of weeks
ago. One of the instructors notes stated that the ruff was a "descendant" of
a chemise with a drawstring neck. I have been a costumer since I was 12 (oh,
boy am I dating myself), with a BA and MA in Theatre costume and 18 years of
16th C. clothing research in the SCA that resulted in a Laurel-- and now I
teach fashion on the college level, so I guess I'm pretty intense about my
clothing....

Anyway I have never seen anything about a drawstring that is Medieval or
Renaissance. As a matter of fact something I read said it was the result of
the
"I need 100 chemises fast" mindset of the original Ren Faires. The chemises
I have seen--- and this is only in paintings, mind you-- show no indication
of a drawstring in the neck-- either a high neckline or low neckline.

Can anyone help me on this? My professor friend has said she found a
reference in "several books" but is more than willing to look at what I find
, and change her lecture, as necessary. We both hate the idea of
disseminating incorrect information to students.

Thanks a bunch--
Monica Spence
(Catriona MacDuff in the SCA)


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Subject: Re: [h-cost] Greetings and question about a painting
Date: Mon, 13 Mar 2006 07:32:36 -0700
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Could be either, I think.  Slashing wasn't exactly unknown on woven fabrics
<g>, but there are a couple of doublets in _Patterns of Fashion_ that are
made, at least in part, of suede and/or leather.
It could be velvet or another piled fabric, or really, really nice wool
(given that this fellow isn't an aristocrat), OR leather.  Think you'd have
to experiment with drape and whatnot....
--Sue

----- Original Message -----
From: "Lonnie D. Harvel" <ldh@ece.gatech.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 6:26 AM
Subject: [h-cost] Greetings and question about a painting


>
> Greetings!
>
> I am new to the list. I have a BFA in a theater from the University of
> Georgia (US) in both performance and costume design. I went on into
> computer science, but have continued costuming, mostly in community
> theater settings.
>
> I have a question about the fabric/material used in the Beham "Portrait
> of a Man", German/Bavarian, 1529. My original guess was a velvet, but
> looking closer at the image, especially the cut-work in the trim and
> collar, I have begun wondering if this was a suede of some kind. I am
> curious as to what fabrics would be likely.


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Subject: [h-cost] Re: Greetings and question about a painting
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Hi Lonnie,

Welcome to the List. :-)

Im apt to lean toward wool for this one. It doesn't
have the typical luminosity that silk velvets would
have had at the time and the hand of the fabric looks
pretty dense. As to the pinking though, any fabric
will take that kind of decoration. It's a matter of
how well it will stand up to regular abuse. A
judicious application of an adhesive on the back side
before pinking will help just about anything endure
abuse a little longer.
Interesting though how it appears that his smock looks
like it could be red. That's vanishingly rare.
Im wondering where the closure is? Back seems
illogical for men - perhaps down the far side? The
collar looks to be hanging asymmetrically.

Kathy

> I have a question about the fabric/material used in
> the Beham "Portrait 
> of a Man", German/Bavarian, 1529. My original guess
> was a velvet, but 
> looking closer at the image, especially the cut-work
> in the trim and 
> collar, I have begun wondering if this was a suede
> of some kind. I am 
> curious as to what fabrics would be likely.

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Date: Mon, 13 Mar 2006 14:24:44 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Monogram alphabets  "Regency"
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At 14:01 13/03/2006, you wrote:
>
>In a message dated 3/13/2006 6:46:03 A.M. Eastern Standard Time,
>suzi@suziclarke.co.uk writes:
>
>Anybody  point me at a source for "Regency" alphabets for embroidering
>monograms on  shirts?
>
>
>Men's shirts, as well as women's body linen and household linens, were
>generally marked with what is called "marking stitches."  This is 
>basically  little
>tiny cross stitches, kind of like counted thread stitching, and consist  of
>the person's initials and perhaps a number, if you have more than 
>1.   You can
>probably find a graph for these, but they are easy to work out  yourself.
>They didn't go in for fancy monogramming--at least, I have never  seen any.


Thank you Ann - I should have remembered that. Having a bit of a 
ditzy morning! You are right, I can work that out by myself.

Suzi


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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Obsessed with underwear
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Hard not to seem fetishistic when one has such a
preoccupation with what goes on under one's skirts.
;-)

I'm doing a bit of byproduct research at the moment
and can't figure out why there is such a clearly
understood, but as-of-yet not terribly well supported
belief that English women didn't wear underwear for,
at the very least the 1500-1600 block of time. They
were worn at other points in time - bikini type appear
in illuminations through the middle ages. All over
continental Europe at various periods they were the
norm. Thus far I have tracked the usage like this:
>From the Middle East to Spain,
>From Spain to Italy,
>From Italy to France,
and only until after the French Revolution, does
England cave in and cover up. (Or so I have found
without sources thus far)
Best I can find right now are two implied statements
from Fynes Morryson and Samuel Pepys. Neither actually
out right say "English women don't wear underwear",
the implication is through their reaction to
continental women that do. Just where is this coming
from???


Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Date: Mon, 13 Mar 2006 14:32:46 +0000 (GMT)
From: Lena <lenastrid@yahoo.com>
Subject: Re: [h-cost] Medieval clerical underwear
To: Historical Costume <h-costume@indra.com>
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I have that one somewhere. I'll go look in my office
sometime in the week. I'm moving house right now, but
I'm fairly certain I know where those papers should
be.

/Lena


--- Robin Netherton <robin@shell.nightowl.net> wrote:

> 
> Below forwarded from another list. I could swear
> we've talked about this
> before -- it's in one of the monastic rules, I
> think, perhaps the passage
> that mentions "femoralia" that gets brought up every
> so often? Anyone have
> a source?
> 
> 
> ---------- Forwarded message ----------
> 
> I think that medieval monastic legislation on dress
> often specified that
> underwear had to be worn by monks or friars when
> going outside the
> monastery: i.e. there was a pragmatic concern for
> modesty when travelling
> about, which would not apply, of course, at burial.
> I've just looked in
> Giancarlo Rocca, ed., La sostanza dell'effimero: gli
> abiti degli ordini
> religiosi in occidente (Rome: Edizioni Paoline,
> 2000) for verification,
> but without success. Someone else may have a source
> to hand.
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Subject: Re: [h-cost] Greetings and question about a painting
References: <232.876aa4a.3145cb02@aol.com> <441572FB.1010608@ece.gatech.edu>
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A nice wool works.
I have made this one.
Unfortionally I don't have a good picture of it.
http://www.deredere.dds.nl/16thcent/16woman/IF3.jpg


Sue Clemenger wrote:

>Could be either, I think.  Slashing wasn't exactly unknown on woven fabrics
><g>, but there are a couple of doublets in _Patterns of Fashion_ that are
>made, at least in part, of suede and/or leather.
>It could be velvet or another piled fabric, or really, really nice wool
>(given that this fellow isn't an aristocrat), OR leather.  Think you'd have
>to experiment with drape and whatnot....
>--Sue
>
>----- Original Message -----
>From: "Lonnie D. Harvel" <ldh@ece.gatech.edu>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Monday, March 13, 2006 6:26 AM
>Subject: [h-cost] Greetings and question about a painting
>
>
>  
>
>>Greetings!
>>
>>I am new to the list. I have a BFA in a theater from the University of
>>Georgia (US) in both performance and costume design. I went on into
>>computer science, but have continued costuming, mostly in community
>>theater settings.
>>
>>I have a question about the fabric/material used in the Beham "Portrait
>>of a Man", German/Bavarian, 1529. My original guess was a velvet, but
>>looking closer at the image, especially the cut-work in the trim and
>>collar, I have begun wondering if this was a suede of some kind. I am
>>curious as to what fabrics would be likely.
>>    
>>
>
>
>_______________________________________________
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>h-costume@mail.indra.com
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>
>  
>

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To me, it looks like a high quality woolen. well fulled and napped.

Beth

At 07:27 AM 3/13/2006, Lonnie wrote:
><snip>
>I have a question about the fabric/material used in the Beham "Portrait
>of a Man", German/Bavarian, 1529. My original guess was a velvet, but
>looking closer at the image, especially the cut-work in the trim and
>collar, I have begun wondering if this was a suede of some kind. I am
>curious as to what fabrics would be likely.
>
>Here is a good link to the portrait. Clicking on the image brings up a
>larger view that can go up to 200% of the image to see more of the detail.
>http://www.wga.hu/html/b/beham/barthel/portrait.html
>
>Thanks!
>Lonnie

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	<001101c6463f$1a9b30e0$a3bfa6d8@pavilion>
Subject: Re: [h-cost] European ancestors (was: Danish ancestors)
Date: Mon, 13 Mar 2006 08:22:42 -0600
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I have the Finnest face (and nose) in all the land--maybe I should look into 
what was worn there.  I'm hopelessly Franco-Flemish in garb taste too, 
though.

I'm curious about this discussion about typical facial features, 
though--does anyone remember enough about when it took place or what the 
subject lines were to help me find it in the archives?  This has been a 
topic of fascination for me for quite a while. I have friends and friends of 
friends who are from eastern Asia and Africa who can look at someone and 
immediately tell what geographical area or what tribe the Americans they see 
walking down the street are originally from.  It absolutely knocks my socks 
off!

-E House 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Obsessed with underwear
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On Mon, 13 Mar 2006, Kathy Page wrote:

> I'm doing a bit of byproduct research at the moment and can't figure
> out why there is such a clearly understood, but as-of-yet not terribly
> well supported belief that English women didn't wear underwear for, at
> the very least the 1500-1600 block of time. They were worn at other
> points in time - bikini type appear in illuminations through the
> middle ages. All over continental Europe at various periods they were
> the norm.

I think it is not safe to generalize about "through the middle ages" and
"all over continental Europe." Certainly in Gothic-era Western Europe
(before 1500) there is no good evidence for women wearing anything under
their shifts. There are a handful of images that get trotted out as
underwear examples whenever this comes up, but as we've hashed out
multiple times on this list (and as Heather Rose Jones ably showed during
her presentation on this topic at the Medieval Congress a few years ago*)
each of these is clearly designed to be an exception to accepted practice:
e.g. an image of a cross-dressing saint, a satiric view of an uppity woman
taking the man's role, etc. Balance that with a handful of written
references that make it clear that women were expected to be panty-less as
a norm, and a huge quantity of images in which underwear might be expected
but is absent, and the case is really quite strong.

I certainly don't know of a vast quantity of medieval European
illuminations of "bikini" underwear on women. On men, yes. In Roman art,
yes (but then possibly in certain circumstances only, e.g. athletic wear).
Maybe one or two medieval images I can think of that fall into the
category above of deliberate exceptions that prove the rule.

As you move away from England, and away from Western Europe, you might
have a better case. 

I do agree that the 16th c. saw the movement of female underwear into
Western Europe, as you have described:

> From the Middle East to Spain,
> From Spain to Italy,
> From Italy to France,

I believe there's a reference to one or two sets of drawers in Queen
Elizabeth's wardrobe, but no evidence that she actually wore them (vs.
them being gifts from foreign ambassadors and novelties). On the other
hand, her wardrobe accounts record vast quantities of those items that she
did wear on a daily basis, down to pins by the thousands and many personal
items, and one would think that if she wore drawers routinely they would
be recorded along with the rest of the wardrobe.

> Best I can find right now are two implied statements from Fynes
> Morryson and Samuel Pepys. Neither actually out right say "English
> women don't wear underwear", the implication is through their reaction
> to continental women that do. 

That's exactly the sort of evidence you're likely to find. If something
isn't routinely worn, isn't considered normal or typical, people don't
talk or write about it much, except when they have occasion to talk about
those who do wear it (e.g. those bizarre foreigners).

The absence of other evidence is a pretty good indicator that the items
simply weren't around -- not just the pictures that show men with drawers
and women without, but also documentary evidence, e.g. the lack of
mention of drawers along with chemises, caps, and other linen goods in
milliners' shop lists.

An analogy: How often do people today talk about women not wearing
neckties? If you were trying to show through documents and artwork that
women in the USA c. 2000 don't wear neckties, what kind of evidence would
you have?

> Just where is this coming from???

Not sure what your question is -- you mean, where do people get the idea
that English women didn't wear underwear till, at best, late in the 16th
c., and most likely not till later?

Perhaps it's true?

If you find solid evidence to the contrary, I know this list will be very
happy to hear it.

--Robin

*coming soon to a volume of Medieval Clothing & Textiles ... vol. 4 I hope
(right, Heather?)

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Subject: [h-cost] Trying to find original source
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I'm sprucing up a pair of kid gloves to look more
elizabethan, and have decided this is what I want them
to look like:
http://ca.geocities.com/absynthe30/avatars/hand.jpg
(hopefully tht link works, it said it uploaded just
fine, but I couldn't get it to open myself. weird.) 
The drawing is from Cunningtons' "Handbook of English
Costume in the Sixteenth Century". When I checked her
source for the drawing, it was not an original
painting as I had hoped, but another book (Kelly's
"Shakespearean Costume"). I know I have seen these
gloves in a painting just recently but I can't for the
life of me recall the painting itself. I had found a
close-ish Spanish one, but it's hard to tell. Does it
ring a bell for anyone?

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Date: Mon, 13 Mar 2006 15:08:23 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Obsessed with underwear
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As I've mentioned before, I found it hard to believe that women used not to wear drawers until I saw the Rowlandson print "Exhibition Stare Case", which shows 18th century women tumbling down stairs and obviously not wearing any.

Kate Bunting
Librarian and 17th century reenactor


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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
>> Elijah & the Widow of Zarapeth -- dig the sleeves
>> http://www.wga.hu/art/m/master/zunk_fl/16_paint/1/04adora2.jpg
>
> I think she's pretty realistic. I've seen those sleeves elsewhere. I think
> I saw this one in person, or one much like it, and took pictures -- not
> for the sleeve, but for the fitting at the back waist. IIRC, there's a
> horizontal seam at the top of the pleats, but it sort of comes out of
> nowhere -- it doesn't go beyond the pleated area. I would have to find the
> slides to confirm that, though. This is not the only gown I saw that on;
> it's some sort of technique for fitting over the rump. I can think of two
> or three ways to do it.

I've been pondering this sleeve style for a while.  It is seen pretty often, 
and occasionally on non-saints, but... I think there's at least one symbolic 
element to it, and I'm pretty sure it's the fringe that often shows up.  I 
can't think of a single occasion when that sleeve fringe did not appear on a 
Jewish/Old Testament figure. Even though the short sleeves worn over a 
chemise look is realistic, I think that perhaps it shows up in 
paintings/illuminations/etc a bit more than necessary in a representative 
fashion sense, as an easy way to display that symbolic fringe.

If anyone is interested in that pleated bustle effect style dress, just wait 
around a few days; that's the style I post about all the freakin' time! =} 
(Or at least the later variant of it.) If you want to see more pictures of 
that style, you can wade through the temp files I have online:
http://www.formfunction.org/temp/
http://www.formfunction.org/temp2/
http://www.formfunction.org/temp3/
There's all sorts of other stuff in there too, but I'm too busy/lazy to pick 
out the bustle ones at the moment.

-E House 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Hi Monica, this has been discussed numerous time on this list. I think 
you will be successful in searching the archives for it. I suggest you 
try the archives listed on this page: 
http://mail.indra.com/mailman/listinfo/h-costume but also check out this 
mail archive: http://dir.gmane.org/gmane.culture.studies.history.costume
You can search more easily there in my opinion.

As to the topic, IMHO, you may both be right. I think you'll find the 
jist of the conversations to say that it is fair to say that the ruff 
developed from the chemise irrespective of how the neck line was 
handled. OTH, I if I remember how the discussions have gone, you simply 
won't find any substantial evidence that drawn necklines existed or were 
prevalent enough to say that was the source. Clearly, they are used 
extensively in Ren. Fair. situations. :-)

Sg

The Power of AND
…Or how I learned to stay focused on
work and still go fly fishing.
By Eric Balinski
“… a key aspect of highly visionary companies: They
do not oppress themselves with what we call the
Tyranny of the OR – the rational view that cannot
easily accept paradox, which cannot live with two
seemingly contradictory forces or ideas at the same
time. The Tyranny of OR pushes people to believe
that things must be either A or B but not both.”

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] European ancestors (was: Danish ancestors)
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On Mon, 13 Mar 2006, E House wrote:

> I'm curious about this discussion about typical facial features, 
> though--does anyone remember enough about when it took place or what the 
> subject lines were to help me find it in the archives?

<rustle, rustle> 

I have one post saved from Nov. 24, 2002, with the subject line "body type
periods." It refers back to an even earlier thread, so this wasn't the
original discussion.

And again in Nov. 2003, with a subject line "Facial and body types &
costume", which also refers back to the original thread.

I cannot find the original thread.

Certain things tend to come up over and over.

> This has been a topic of fascination for me for quite a while. I have
> friends and friends of friends who are from eastern Asia and Africa
> who can look at someone and immediately tell what geographical area or
> what tribe the Americans they see walking down the street are
> originally from.  It absolutely knocks my socks off!

A Ukranian at the Medieval Congress once nailed me not only as Ukranian,
but correctly placed my family as from Kiev. On one guess. Yow.

--Robin

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From: Cozit / Liz <imcozit@verizon.net>
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Subject: [h-cost] Theatre museum in London closing?
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The following was sent me a few minutes ago from a friend... Sending 
e-mail certainly wouldn't hurt!  (sent to h-needlework as well, because 
there is a tie-in with the decoration of costume)
-Liz

Dear Friends and Colleagues,

 >>

Some of you may have already heard disturbing rumours
about the imminent closure of London's Theatre Museum.
This shocking and completely unexpected
news has taken the museum staff completely by
surprise, and the future now looks grim for the
world's greatest collection of British theatrical
memorabilia. The V&A, which runs the Theatre Museum,
argues that no one cares what happens to it. I would
urge you and/or anyone else you know who feels
strongly about the future of the museum to prove them
wrong, and write and protest to the Director of the
V&A (who's decision this is) at the following address:

Mark Jones
Director
Victoria & Albert Museum
email: mark.jones@vam.ac.uk




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Subject: Re: Flemish (was RE: [h-cost] tippets ...
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Hi,
Yes i also have a quote somewhere, about the maids in Amsterdam wearing 
trousers each time they had to pollish the windows.

Bjarne

----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 4:15 PM
Subject: Re: Flemish (was RE: [h-cost] tippets ...


> ----- Original Message ----- 
> From: "Robin Netherton" <robin@shell.nightowl.net>
>>> Elijah & the Widow of Zarapeth -- dig the sleeves
>>> http://www.wga.hu/art/m/master/zunk_fl/16_paint/1/04adora2.jpg
>>
>> I think she's pretty realistic. I've seen those sleeves elsewhere. I 
>> think
>> I saw this one in person, or one much like it, and took pictures -- not
>> for the sleeve, but for the fitting at the back waist. IIRC, there's a
>> horizontal seam at the top of the pleats, but it sort of comes out of
>> nowhere -- it doesn't go beyond the pleated area. I would have to find 
>> the
>> slides to confirm that, though. This is not the only gown I saw that on;
>> it's some sort of technique for fitting over the rump. I can think of two
>> or three ways to do it.
>
> I've been pondering this sleeve style for a while.  It is seen pretty 
> often, and occasionally on non-saints, but... I think there's at least one 
> symbolic element to it, and I'm pretty sure it's the fringe that often 
> shows up.  I can't think of a single occasion when that sleeve fringe did 
> not appear on a Jewish/Old Testament figure. Even though the short sleeves 
> worn over a chemise look is realistic, I think that perhaps it shows up in 
> paintings/illuminations/etc a bit more than necessary in a representative 
> fashion sense, as an easy way to display that symbolic fringe.
>
> If anyone is interested in that pleated bustle effect style dress, just 
> wait around a few days; that's the style I post about all the freakin' 
> time! =} (Or at least the later variant of it.) If you want to see more 
> pictures of that style, you can wade through the temp files I have online:
> http://www.formfunction.org/temp/
> http://www.formfunction.org/temp2/
> http://www.formfunction.org/temp3/
> There's all sorts of other stuff in there too, but I'm too busy/lazy to 
> pick out the bustle ones at the moment.
>
> -E House
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> h-costume@mail.indra.com
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> 


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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We've debated this topic more than once and the general consensus seems to be that chemises/shifts before the 18th century had stitched-down gathers, not drawstrings. 17th century reenactors commonly do make shifts with drawstrings, presumably because that's how we would make modern garments that look like that (i.e. "peasant" or "gypsy"-style blouses). 
I'm not a Tudor expert, but presumably the ruff developed from a chemise neck gathered into a ruffle?

Kate Bunting
Librarian and 17th century reenactor


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From h-costume-bounces@indra.com  Mon Mar 13 10:57:32 2006
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From: Mary <hanstar88@yahoo.com>
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Subject: [h-cost] Springhill costume collection on tour
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I saw this posted on another list -- and forgive me if this is a duplicate (I'm way behind on this list).

Springhill has a costume collection that is touring around Ireland this year and next.
http://www.nationaltrust.org.uk/main/w-vh/w-visits/w-findaplace/w-springhill.htm
In case anyone is lucky enough to live in Ireland or be visiting soon....

The website has photos of some of their costume collection and an article about the items on tour.

I really love the green pelisse -- yummy!!

~mary


«:*´`´`*:»§«.»§«:*´`´`*:».«:*´`´`*:»§«.»§«:*´`´`*:»

"Pictures of perfection, as you know, make me sick & wicked."
~ Jane Austen

"Right now I'm having amnesia and deja vu at the same time.  I think I've forgotten this before."      ~ Steven Wright
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Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Hi Kate,
Excactly what i also have read. Arm frills as well.

Bjarne
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Monday, March 13, 2006 4:50 PM
Subject: Re: [h-cost] New Topic: drawstring necklines on chemises


> We've debated this topic more than once and the general consensus seems to 
> be that chemises/shifts before the 18th century had stitched-down gathers, 
> not drawstrings. 17th century reenactors commonly do make shifts with 
> drawstrings, presumably because that's how we would make modern garments 
> that look like that (i.e. "peasant" or "gypsy"-style blouses).
> I'm not a Tudor expert, but presumably the ruff developed from a chemise 
> neck gathered into a ruffle?
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Hi Monica,
I'm wondering where her sources come from...how old they are.  Karl Kohler 
era costumers have been passed as almost biblical until recently. This might 
be why she thinks the shifts were drawstrung.  I would offer her the 
portraiture you've been looking at and have a good discussion about this 
topic.

Good luck!
Kelly


> Anyway I have never seen anything about a drawstring that is Medieval or
> Renaissance. As a matter of fact something I read said it was the result 
> of
> the
> "I need 100 chemises fast" mindset of the original Ren Faires. The 
> chemises
> I have seen--- and this is only in paintings, mind you-- show no 
> indication
> of a drawstring in the neck-- either a high neckline or low neckline.
>
> Can anyone help me on this? My professor friend has said she found a
> reference in "several books" but is more than willing to look at what I 
> find
> , and change her lecture, as necessary. We both hate the idea of
> disseminating incorrect information to students.
>
> Thanks a bunch--
> Monica Spence
> (Catriona MacDuff in the SCA)
>
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To: "Historical Costume" <h-costume@indra.com>
References: <232.876aa4a.3145cb02@aol.com> <441572FB.1010608@ece.gatech.edu>
	<002a01c646aa$fabcce20$4abfa6d8@pavilion>
Subject: Re: [h-cost] Greetings and question about a painting
Date: Mon, 13 Mar 2006 12:28:22 -0400
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It looks very much like velvet to me, and velvet slashes nicely, especially 
on the bias.

Kelly



>> I have a question about the fabric/material used in the Beham "Portrait
>> of a Man", German/Bavarian, 1529. My original guess was a velvet, but
>> looking closer at the image, especially the cut-work in the trim and
>> collar, I have begun wondering if this was a suede of some kind. 
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From: roscelinlimoges@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
Date: Mon, 13 Mar 2006 16:31:47 +0000
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Is there anywhere I can see how this is done?  This is the first time I've heard about this technique.  I was always under the belief that drawstrings were used in the neckline and cuffs.  Since I have to make myself some new chemises this is a good time to learn the new technique (new to me).

Roscelin

 -------------- Original message ----------------------
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
> We've debated this topic more than once and the general consensus seems to be 
> that chemises/shifts before the 18th century had stitched-down gathers, not 
> drawstrings. 17th century reenactors commonly do make shifts with drawstrings, 
> presumably because that's how we would make modern garments that look like that 
> (i.e. "peasant" or "gypsy"-style blouses). 
> I'm not a Tudor expert, but presumably the ruff developed from a chemise neck 
> gathered into a ruffle?
> 
> Kate Bunting
> Librarian and 17th century reenactor
> 
> 
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Hi Roscelin, this depends a lot on the style...can you show us a picture 
of what you are trying to make?

Sg
roscelinlimoges@comcast.net wrote:

>Is there anywhere I can see how this is done?  This is the first time I've heard about this technique.  I was always under the belief that drawstrings were used in the neckline and cuffs.  Since I have to make myself some new chemises this is a good time to learn the new technique (new to me).
>
>Roscelin
>  
>

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Boogers, link didn't work......
Kathy Page wrote:

>I'm sprucing up a pair of kid gloves to look more
>elizabethan, and have decided this is what I want them
>to look like:
>http://ca.geocities.com/absynthe30/avatars/hand.jpg
>(hopefully tht link works, it said it uploaded just
>  
>

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Subject: [h-cost] Re: European ancestors
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My family is mostly Irish, though you can't tell by my name. My brother and
I don't look very Irish, but my father's family certainly does. I grew up in
Pittsburgh, where there is a very large Polish population. So we always fit
in pretty well with the short, dark-haired Poles.

Now I live in Cincinnati, which has a huge German-ancestry population.
Everyone is tall and blonde, and here I am -- little and dark-haired. My
husband's family is all tall and blonde. When we visit Pittsburgh, my
husband always says he feels a head taller than everyone else, though here
in Cincinnati he feels just average. My parents have moved, and when we
attend the church closest to their house, it's usually full of another
short, dark-haired group -- Italians. My husband calls it the Mafia Church,
which may actually be true. There is quite a bit of Mafia in Pittsburgh.
There was a little Italian restaurant a few miles from the house I grew up
in that was reputed to be popular with the Mafia, and one of my high school
friends used to bartend at Mafia weddings (other weddings too, of course).

One of my former bosses here in Cincinnati used to think I made the Mafia
stuff up. She didn't believe there really WAS a Mafia anymore!

Costume content: None, really. Although I hear that because of the Polish
population now being more prosperous, ridiculously expensive First Communion
dresses are now popular. A store near my parents' house, the kind that sells
$300 Christmas dresses for 8-year-old girls, now stocks similar First
Communion dresses. I made my daughter's dress, but the girls in her First
Communion class generally had the $30-$60 department store variety.

Gail Finke

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Date: Mon, 13 Mar 2006 13:54:13 -0400
From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: origin of the facial types thread
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The way I remember it, someone posted a web site of attendee photos at an
American SCA event. A member who was a portrait photographer set up shop and
took pictures of anyone who wanted them, as people do at dances and other
functions. The original poster, I think, wanted information about a
particular costume. But people were looking at many of the photos, and
someone asked why it was that he/she could tell that this was a group of
Americans without being told ahead of time. Various guesses were posted -- I
remember someone saying that it was because so many had white, straight
teeth -- but the concensus was the large variety of facial types.

Gail Finke, who remembers this for some reason


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Subject: [h-cost] EQ-[Fwd: Re: Historic Horse Yahoo group]-OT this list for
 other than Historic Horse Costuming discussions
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Hi all, for those of you who expressed an interest in an "Other Than 
Costuming" discussion place for historical equine discussions, here is 
an option.  I figured I would try it out.  I still intend to post my 
costume discussions to the h-costume list, but when the topic starts to 
diverge to more horsey things...we can go here.

Sg

-------- Original Message --------
Subject: 	Re: Historic Horse Yahoo group
Date: 	Mon, 13 Mar 2006 09:25:26 -0800 (PST)
From: 	Diana Wilson <golden_maia@yahoo.com>
To: 	wickedfrau@msn.com



Hello!
 
I would be very open for folks joining in.  Right now my list is very 
quiet and I would enjoy having more people here!  The only thing that I 
would like to stay away from is people selling their horses through the 
public posting.  Information about horse-related costumes of a historic 
nature would be fantasitc!  I have a few people on the list who belong 
to other historic interest lists who, I'm am sure, wouldn't mind more 
folks coming in as well!
 
Please feel free to have people sign up and I will approve as soon as I can!
-GM-

*/WickedFrau <wickedfrau@msn.com>/* wrote:

    Hi, I and several others who belong to the Historic Costume List, were
    considering starting a historic equine list on Yahoo. But I see that
    you have one with similar interests and was wondering if we might just
    tag along. In general we would try to keep our horse and people
    costuming discussions on the latter list because other members have
    expressed interest in keeping them there even if they aren't
    focusing on
    that. But we horsey people, would also like to discuss more general
    historic horse aspects elsewhere and have a place to exchange pictures
    of our horses. If this is amenable to you, please let me know.
    Otherwise we will be happy to start another list....I was thinking "The
    Historic Equestrian". Thanks,

    Saragrace Knauf




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Subject: [h-cost] Bishop's Lawn - linen or cotton?
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This is probably a silly question :-)

Could someone tell me if the Bishop's Lawn on sale
from Hamon's in Jersey is terribly fine cotton or
actual linen? 

I'm desperate to get some yummy thin linen for shifts
etc., but don't want to spring for the shipping from
the US (basically I've got to add on more than the
cost of the fabric for postage plus another 25% for
duty, VAT, etc). Oy.

Thank you very much - I already have their phone
number sitting next to my phone, thanks to the archive
search feature :-)

Katherine (who shouldn't actually be buying ANYTHING)

"A positive attitude may not solve all of your problems, but it will 
annoy enough people to make it worth the effort" - Herm Albright


		
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Date: Mon, 13 Mar 2006 18:49:34 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Bishop's Lawn - linen or cotton?
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At 18:37 13/03/2006, you wrote:
>This is probably a silly question :-)
>
>Could someone tell me if the Bishop's Lawn on sale
>from Hamon's in Jersey is terribly fine cotton or
>actual linen?
>
>I'm desperate to get some yummy thin linen for shifts
>etc., but don't want to spring for the shipping from
>the US (basically I've got to add on more than the
>cost of the fabric for postage plus another 25% for
>duty, VAT, etc). Oy.
>
>Thank you very much - I already have their phone
>number sitting next to my phone, thanks to the archive
>search feature :-)
>
>Katherine (who shouldn't actually be buying ANYTHING)


As far as I remember it is fine cotton lawn.

I have not come across anywhere in England which 
has very very fine lawn, although the fine lawn 
at the Cloth House is very fine, but not as 
closely woven as I would wish. It is £11.50 per metre 150 cm wide.

The Cloth House - 47 and 98 Berwick Street, 
London W1F 0QJ Tel/fax 020 7287 1555

Suzi




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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: origin of the facial types thread
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On Mon, 13 Mar 2006, Gail & Scott Finke wrote:

> The way I remember it, someone posted a web site of attendee photos at
> an American SCA event. A member who was a portrait photographer set up
> shop and took pictures of anyone who wanted them, as people do at
> dances and other functions. The original poster, I think, wanted
> information about a particular costume. But people were looking at
> many of the photos, and someone asked why it was that he/she could
> tell that this was a group of Americans without being told ahead of
> time. Various guesses were posted -- I remember someone saying that it
> was because so many had white, straight teeth -- but the concensus was
> the large variety of facial types.

Yes, that is how I remember it too. And then the discussion turned to
weight and got very snippy, ah well.

--Robin


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Tea towels
Date: Mon, 13 Mar 2006 14:08:28 -0500
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Ah, but one misses out on the practical activity of treading all the dusty
or muddy trails! A great way to walk off a few pounds.  Also, the venture of
the hand and eye in discovering potential bargains has its own pleasure.
In our region, most of the reproductive linen has catered more to the
multitudes of Battenberg enthusiast than good old birdseye and other
interesting weaves.  Huck cloths aplenty, too.
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 12, 2006 1:58 PM
Subject: Re: [h-cost] Tea towels


> There are hundreds and hundreds of fancy (and not so fancy) vintage and
> antique tablecloths, towels, tea towels, bedspreads, handkerchiefs, and
> linens of all sorts on eBay.  Embroidered, printed, crocheted, tatted,
> fringed, woven, plaid, striped, plain, and everything you can think of.
>   You can buy them individually or as part of a big lot, and in
> conditions ranging from perfect to awful.
>
> I was buying embroidered tablecloths to make into skirts for awhile, at
> great prices, but after buying eight or so within a few days I gave up
> browsing the textiles.  There were just too many.  But if you look under
> Collectibles/Linens, Fabric and Textiles or Antiques, Textiles and
> Linens (the latter are generally pricier items), you'll never have to
> spend hours at a flea market again--just in front of your computer.
>
> I had the sense to do a search on "tea towels," after I posted. Irish
> Linen tea towels appear to have been popular since the early 1970s,
> judging by the fact that some are dated (because they're printed with
> calendars for the year).  There are scads on eBay, though most are
> printed with very tacky designs.  I didn't find any William Morris ones
> (even though I've just worn out four in my kitchen, bought from museum
> catalogs at different times).  If anyone is interested, many of the
> towels are listed on eBay for about $5, and they are very effective as
> hand and dish towels.
>
> I got three printed with Book of Kells designs which are a bit bright
> for my taste, but that will fade as they get beat up and washed every
> week (the reason why I passed up all the vintage embroidered ones
> listed--we use the towels heavily).  Also one printed with a picture of
> the Louvre (tea towels seem to be popular tourist items).
>
> Then someone on h-costume, whose message I accidentally deleted, kindly
> sent me a link to the online store of the Country Dance and Song
> Society, where you can buy the Book of Kells towels:
>
> http://www.cdss.org/sales/holiday.html
>
> But if anyone knows anywhere in the US to get more William Morris tea
> towels (I did find some places in England), please let me know.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> Lloyd Mitchell wrote:
> > Fran, the only time I have seen any that might be as you describe is at
> > antique flea markets...such as Brimfield in Ma.
> _______________________________________________
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> h-costume@mail.indra.com
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We have vintage clothing and textile shows here too (there's one this 
coming weekend), and I used to love going to them.  But now I love eBay 
more, to the extent that, when I'm pressed for time, I don't even always 
go to the local shows.  On eBay there's just so much more merchandise 
available, and new stuff every day (from all over the world), and it's 
so much easier and quicker to browse it.  I've been collecting clothing 
and textiles,and related publications, since I was 16. The net has just 
opened up the market incredibly; even though I often used to buy from 
other geographic areas by mail.  I'm not really much of a window 
shopper; I look for things to buy rather than just spending hours 
looking around. And I don't need to lose weight, so that's not a factor. 
   I agree though, that walking is practical exercise, in that you can 
get somewhere as you do it.

Fran
Lavolta Press
http://www.lavoltapress.com


Lloyd Mitchell wrote:
> Ah, but one misses out on the practical activity of treading all the dusty
> or muddy trails! A great way to walk off a few pounds.  Also, the venture of
> the hand and eye in discovering potential bargains has its own pleasure.
> In our region, most of the reproductive linen has catered more to the
> multitudes of Battenberg enthusiast than good old birdseye and other
> interesting weaves.  Huck cloths aplenty, too.
> Kathleen
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Subject: [h-cost] Re: Bishop's Lawn
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>As far as I remember it is fine cotton lawn.

>I have not come across anywhere in England which 
h>as very very fine lawn, although the fine lawn 
>at the Cloth House is very fine, but not as 
>closely woven as I would wish. It is £11.50 per
>metre 150 cm wide.

The Cloth House - 47 and 98 Berwick Street, 
London W1F 0QJ Tel/fax 020 7287 1555

>Suzi

Thanks Suzi - I'll call them in the morning and see
what they've got. 

Katherine in very very very cold Edinburgh - brrrrrrr

"A positive attitude may not solve all of your problems, but it will 
annoy enough people to make it worth the effort" - Herm Albright


		
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Subject: Re: [h-cost] Bishop's Lawn -very fine linnen
Date: Mon, 13 Mar 2006 20:56:29 +0100
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If you want to spend money, you could go to Theo Brejaart in Rotterdam. He 
is in the bobbin lace making buisiness, and sells the most superior quality, 
but also very expensive. I baught here for my 18th century shirts and stock 
cravats.

Bjarne


----- Original Message ----- 
From: "katherine sanders" <katherinejsanders@yahoo.co.uk>
To: <h-costume@mail.indra.com>
Sent: Monday, March 13, 2006 7:37 PM
Subject: [h-cost] Bishop's Lawn - linen or cotton?


> This is probably a silly question :-)
>
> Could someone tell me if the Bishop's Lawn on sale
> from Hamon's in Jersey is terribly fine cotton or
> actual linen?
>
> I'm desperate to get some yummy thin linen for shifts
> etc., but don't want to spring for the shipping from
> the US (basically I've got to add on more than the
> cost of the fabric for postage plus another 25% for
> duty, VAT, etc). Oy.
>
> Thank you very much - I already have their phone
> number sitting next to my phone, thanks to the archive
> search feature :-)
>
> Katherine (who shouldn't actually be buying ANYTHING)
>
> "A positive attitude may not solve all of your problems, but it will
> annoy enough people to make it worth the effort" - Herm Albright
>
>
>
> ___________________________________________________________
> Yahoo! Photos - NEW, now offering a quality print service from just 8p a 
> photo http://uk.photos.yahoo.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Tue, 14 Mar 2006 08:54:34 +1300
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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monica spence wrote:

>Anyway I have never seen anything about a drawstring that is Medieval or
>Renaissance. As a matter of fact something I read said it was the result of
>the
>"I need 100 chemises fast" mindset of the original Ren Faires. The chemises
>I have seen--- and this is only in paintings, mind you-- show no indication
>of a drawstring in the neck-- either a high neckline or low neckline.
>
>Can anyone help me on this? My professor friend has said she found a
>reference in "several books" but is more than willing to look at what I find
>, and change her lecture, as necessary. We both hate the idea of
>disseminating incorrect information to students.
>  
>

I've certainly never seen evidence for drawstring necklines, and I've 
had a pretty good look around.


-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 


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Date: Mon, 13 Mar 2006 20:06:51 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Theatre museum in London closing?
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At 15:46 13/03/2006, you wrote:
>The following was sent me a few minutes ago from a friend... Sending 
>e-mail certainly wouldn't hurt!  (sent to h-needlework as well, 
>because there is a tie-in with the decoration of costume)
>-Liz
>
>Dear Friends and Colleagues,
>
> >>
>
>Some of you may have already heard disturbing rumours
>about the imminent closure of London's Theatre Museum.
>This shocking and completely unexpected
>news has taken the museum staff completely by
>surprise, and the future now looks grim for the
>world's greatest collection of British theatrical
>memorabilia. The V&A, which runs the Theatre Museum,
>argues that no one cares what happens to it. I would
>urge you and/or anyone else you know who feels
>strongly about the future of the museum to prove them
>wrong, and write and protest to the Director of the
>V&A (who's decision this is) at the following address:
>
>Mark Jones
>Director
>Victoria & Albert Museum
>email: mark.jones@vam.ac.uk


If anyone wants further information, I now have an update, which is a 
bit long winded, but will happily forward individually if required.

Anyone here in the U.K can contact their MP and I have help for that too.

Suzi


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Subject: [h-cost] Ruffs
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> Now I'm curious:  how many people actually starch their ruffs after
> they're made like I do?

And I'm curious if anyone has found something permanent to deal with the 
ruffs.  There is a type of stuff sold at craft stores for making baskets out 
of lace doilies.  It sets up permanently and supposedly doesn't wash out. 
I've used white glue thinned with water for craft items but never on 
clothing.
Julie 


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Date: Tue, 14 Mar 2006 09:17:35 +1300
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Re: European ancestors
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I'm mainly of Irish and French-Canadian descent, with some Swedish, 
Welsh, and English thrown in.  Apparently, I'm very Irish looking with 
extremely fair skin and green eyes.  My costume obsession: early 
16th-century Florence.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 


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At 20:09 13/03/2006, you wrote:
>>Now I'm curious:  how many people actually starch their ruffs after
>>they're made like I do?
>
>And I'm curious if anyone has found something permanent to deal with 
>the ruffs.  There is a type of stuff sold at craft stores for making 
>baskets out of lace doilies.  It sets up permanently and supposedly 
>doesn't wash out. I've used white glue thinned with water for craft 
>items but never on clothing.
>Julie



Straw stiffener, what you use on millinery straw (and hats) to keep 
it in shape, is pretty effective, and transparent. Use in a well 
ventilated room though - it can have odd effects.

Suzi 


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From h-costume-bounces@indra.com  Mon Mar 13 15:46:48 2006
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Subject: Re: [h-cost] Tea towels
Date: Mon, 13 Mar 2006 15:48:00 -0500
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Ah Me...My passion these last two months has been e-Bay and dolls!  I have
managed in a space of about 3 months to amass a fairly well balanced doll
collection with which to play with in my dotage.
The one thing I have realized is that I have a real thing for china dolls.
Since I am after the right heads and bodies that will be graced by 19thC
clothing, I have not been too particular with the "original (so called)
clothing" or body condition. I have a nice store of vintage and antique
sawdust, linen, and fabulous lace to play with.

Some of the dolls have already suffered extreme makeovers,so I am not cowed
by the antiquarian idea that all this history should be preserved. I am
taking notes of all the carcasses along with pictures, and will save any
threads that seem to be remarkable...and discard all the wrappings and
patches that managed to keep the poor things together for their final
destination.

I've been doing the costume thing since 1976 and am rapidly getting free of
the things I don't want to play with, and am basically diminishing the size
of the costume project but retaining the construction and detail including
jewelry and findings.  Your books have been tremendously helpful to me in
the past and I have discovered occasionally that I can almost take your
pattern shapes as they exist on the page exactly as they are.
Thank You for all your hard work.

In my e-Bay travels last week I did net a wonderful pair of purple silk
mules that had crewel embroidery on them for my late 18th C kit.  Even the
heel was ok!

Happy hunting,
Kathleen



----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 2:46 PM
Subject: Re: [h-cost] Tea towels


> We have vintage clothing and textile shows here too (there's one this
> coming weekend), and I used to love going to them.  But now I love eBay
> more, to the extent that, when I'm pressed for time, I don't even always
> go to the local shows.  On eBay there's just so much more merchandise
> available, and new stuff every day (from all over the world), and it's
> so much easier and quicker to browse it.  I've been collecting clothing
> and textiles,and related publications, since I was 16. The net has just
> opened up the market incredibly; even though I often used to buy from
> other geographic areas by mail.  I'm not really much of a window
> shopper; I look for things to buy rather than just spending hours
> looking around. And I don't need to lose weight, so that's not a factor.
>    I agree though, that walking is practical exercise, in that you can
> get somewhere as you do it.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
>
> Lloyd Mitchell wrote:
> > Ah, but one misses out on the practical activity of treading all the
dusty
> > or muddy trails! A great way to walk off a few pounds.  Also, the
venture of
> > the hand and eye in discovering potential bargains has its own pleasure.
> > In our region, most of the reproductive linen has catered more to the
> > multitudes of Battenberg enthusiast than good old birdseye and other
> > interesting weaves.  Huck cloths aplenty, too.
> > Kathleen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Ruffs
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At 12:34 PM 3/13/2006, you wrote:
>At 20:09 13/03/2006, you wrote:
>>>Now I'm curious:  how many people actually starch their ruffs after
>>>they're made like I do?
>>
>>And I'm curious if anyone has found something permanent to deal 
>>with the ruffs.  There is a type of stuff sold at craft stores for 
>>making baskets out of lace doilies.  It sets up permanently and 
>>supposedly doesn't wash out. I've used white glue thinned with 
>>water for craft items but never on clothing.
>>Julie
>
>
>
>Straw stiffener, what you use on millinery straw (and hats) to keep 
>it in shape, is pretty effective, and transparent. Use in a well 
>ventilated room though - it can have odd effects.
>
>Suzi

But what does it feel like against the skin?  I'd expect it to be 
very irritating to have something stiff under my chin like 
that.  Regular starch is resilient enough to not be too irritating.


Joan Jurancich
joanmj@surewest.net 

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Thee is a stuff wich is used to permanent water proof felt hats. I used that 
for a standing band once, and it worked well. The band had lace on it, 
chinese bobbin lace, wich i baught as doylies once. Sorry i cant remember 
the name of the stuff, but it also starched the band same time.

Bjarne
----- Original Message ----- 
From: "Julie" <jtknits@jtknits.cts.com>
To: <h-costume@indra.com>
Sent: Monday, March 13, 2006 9:09 PM
Subject: [h-cost] Ruffs


>> Now I'm curious:  how many people actually starch their ruffs after
>> they're made like I do?
>
> And I'm curious if anyone has found something permanent to deal with the 
> ruffs.  There is a type of stuff sold at craft stores for making baskets 
> out of lace doilies.  It sets up permanently and supposedly doesn't wash 
> out. I've used white glue thinned with water for craft items but never on 
> clothing.
> Julie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Hi,
Yes and i would like to add, as it was me who sended the bad message at 
first about all americans being of europe origin. This was a stupid thing, 
it was not intended to be of any type of racism or anything, just a blubr 
from my part.
I should have said that every american has origins from the old world, not 
europe. Sorry about this.
What about russia, dont russia count in as european? I really dont know.
Everytime i visits the gustavians in Sweden, i can always tell they are 
swedish, and that even that we are so close neighbors, Denmark and Sweden it 
is very typically the way they look like. Something about their eyes, and 
their shape of face. Off cause many swedes are very pale and has blue eyes 
and golden hair, but it is not only that.
Here in Denmark we have many danes with very dark hair and also dark skin. 
They have their origin from Spain, as Denmark had a lot of spanish troops 
living in Jutland, during the wars in 1864.
Funny how our past still have so much influence for us all.

Bjarne

----- Original Message ----- 
From: "Adele de Maisieres" <ladyadele@paradise.net.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 9:17 PM
Subject: Re: [h-cost] Re: European ancestors


> I'm mainly of Irish and French-Canadian descent, with some Swedish, Welsh, 
> and English thrown in.  Apparently, I'm very Irish looking with extremely 
> fair skin and green eyes.  My costume obsession: early 16th-century 
> Florence.
>
> -- 
> Adele de Maisieres
>
> -----------------------------
> Habeo metrum - musicamque,
> hominem meam. Expectat alium quid?
> -Georgeus Gershwinus
> ----------------------------- 
>
>
> _______________________________________________
> 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] Ruffs
Date: Mon, 13 Mar 2006 17:36:56 -0400
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That and you lose out on the fun of washing and starching ruffs...something 
I actually enjoy doing...kinda little and boring an can be done on my own 
time.
kelly

>>Straw stiffener, what you use on millinery straw (and hats) to keep it in 
>>shape, is pretty effective, and transparent. Use in a well ventilated room 
>>though - it can have odd effects.
>>
>>Suzi
>
> But what does it feel like against the skin?  I'd expect it to be very 
> irritating to have something stiff under my chin like that.  Regular 
> starch is resilient enough to not be too irritating.
>
>
> Joan Jurancich
> joanmj@surewest.net
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Date: Mon, 13 Mar 2006 17:00:24 -0500 (EST)
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
From: aquazoo@patriot.net
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     Even in the 18th century, the typical drawstring neckline was not
used.  Sometimes there is a drawstring that serves to snug up the
neckline a bit , but not to the extent of creating gathers.

     Sleeves tend to be gathered into cuffs and sometimes a ruffle added
(sometimes of a finer fabric).  Some shift sleeves are shorter, close
fit and only have a narrow hem.

     But the same as anywhere, we see the head-swallowing-shift at
reenactments.  That's when it's pulled up to the collarbones.

     -Carol

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Subject: [h-cost] Re: ruffs and drawstring necklines
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I am under the impression that ruffs developed from pleatworked collars on shirts, chemises and partlets. Here's a website that covers some interesting research on pleatwork: http://www.bellomarisco.com/smocking.php  I think you'll see that the necklines started out low and pleated (which we moderns have mistaken for a drawstring) and got higher and higher until a ruffle was formed by leaving a little bit of fabric free above the pleating, and from there it's easy to see how a detached ruff developed.
 
And going back to a much earlier thread about historically-inspired modern clothes, I'm dying to make myself a blouse with a high, pleatworked collar. I have the fabric and everything all picked out. Now I just have to figure out how to stop time long enough to get it finished...
 
Tea Rose
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Subject: Re: [h-cost] Re: European ancestors
Date: Mon, 13 Mar 2006 17:40:24 -0500
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Bjarne. My older daughter had a strange experience the first time she went
to the USSR.  As her group passed through Helsinki, she felt she was seeing
many people who looked like her, and that the language she should have been
studying was Finnish and not Russian.  Her senior year in college she
changed her language from Russian to Finnish and spent the rest of her
senior in Turkou.  The following summer she traveled up into the Arctic
Circle to meet the Lapps.  It was here that she Really felt at home.  We
have a picture of her in Lapp costume in a large family group where she
looks to be like everyone else.

Her great grandfather has the name of Fenlason...and always felt His family
was from Scotland.  I think the Scottish  link to have been from
Scandinavia.  Erika is somewhat short and tends to be round.  My family is
southern Ireland and southern England.
The genes will 'out".Kathleen---- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 4:36 PM
Subject: Re: [h-cost] Re: European ancestors


> Hi,
> Yes and i would like to add, as it was me who sended the bad message at
> first about all americans being of europe origin. This was a stupid thing,
> it was not intended to be of any type of racism or anything, just a blubr
> from my part.
> I should have said that every american has origins from the old world, not
> europe. Sorry about this.
> What about russia, dont russia count in as european? I really dont know.
> Everytime i visits the gustavians in Sweden, i can always tell they are
> swedish, and that even that we are so close neighbors, Denmark and Sweden
it
> is very typically the way they look like. Something about their eyes, and
> their shape of face. Off cause many swedes are very pale and has blue eyes
> and golden hair, but it is not only that.
> Here in Denmark we have many danes with very dark hair and also dark skin.
> They have their origin from Spain, as Denmark had a lot of spanish troops
> living in Jutland, during the wars in 1864.
> Funny how our past still have so much influence for us all.
>
> Bjarne
>
> ----- Original Message ----- 
> From: "Adele de Maisieres" <ladyadele@paradise.net.nz>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, March 13, 2006 9:17 PM
> Subject: Re: [h-cost] Re: European ancestors
>
>
> > I'm mainly of Irish and French-Canadian descent, with some Swedish,
Welsh,
> > and English thrown in.  Apparently, I'm very Irish looking with
extremely
> > fair skin and green eyes.  My costume obsession: early 16th-century
> > Florence.
> >
> > -- 
> > Adele de Maisieres
> >
> > -----------------------------
> > Habeo metrum - musicamque,
> > hominem meam. Expectat alium quid?
> > -Georgeus Gershwinus
> > ----------------------------- 
> >
> >
> > _______________________________________________
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>
>
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From: A & J Garden <garden@earthlydelights.com.au>
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Subject: [h-cost] Stiffening wool felt hats
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Does anyone have a recipe I could use to stiffen some hats? I've got 
some old floppy wool felt hats I want to turn into cavalier hats.
Thanks, Aylwen

http://www.earthlydelights.com.au

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Greetings and question about a painting
Date: Mon, 13 Mar 2006 17:11:56 -0600
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>From what I can see this appears to be wool or suede/leather. I don't see
any pile that would indicate velvet.
>From what I have learned from another's experience with leather. Old fashion
tanning methods seem to leave the leather more supal(sp?) and drapey then
the commercial leathers.
De
-----Original Message-----
Greetings!

I am new to the list. I have a BFA in a theater from the University of
Georgia (US) in both performance and costume design. I went on into
computer science, but have continued costuming, mostly in community
theater settings.

I have a question about the fabric/material used in the Beham "Portrait
of a Man", German/Bavarian, 1529. My original guess was a velvet, but
looking closer at the image, especially the cut-work in the trim and
collar, I have begun wondering if this was a suede of some kind. I am
curious as to what fabrics would be likely.

Here is a good link to the portrait. Clicking on the image brings up a
larger view that can go up to 200% of the image to see more of the detail.
http://www.wga.hu/html/b/beham/barthel/portrait.html

Thanks!
Lonnie


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Subject: Re: [h-cost] Ruffs
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In a message dated 3/13/2006 3:36:17 P.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

Straw  stiffener, what you use on millinery straw (and hats) to keep 
it in  shape,


What we sometimes call "Hat Lacquer".
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Subject: Re: [h-cost] Ruffs
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That goo is called decopage glue. I've used it on doilies before and it does 
make it very stiff. When it's dry, it's permenant. Glue will wilt when wet. 
Decogage won't. I'm not too sure how much water it would take but it 
definitely a stiff that will last much longer.
----- Original Message ----- 
From: "Joan Jurancich" <joanmj@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 4:11 PM
Subject: Re: [h-cost] Ruffs


> At 12:34 PM 3/13/2006, you wrote:
>>At 20:09 13/03/2006, you wrote:
>>>>Now I'm curious:  how many people actually starch their ruffs after
>>>>they're made like I do?
>>>
>>>And I'm curious if anyone has found something permanent to deal with the 
>>>ruffs.  There is a type of stuff sold at craft stores for making baskets 
>>>out of lace doilies.  It sets up permanently and supposedly doesn't wash 
>>>out. I've used white glue thinned with water for craft items but never on 
>>>clothing.
>>>Julie
>>
>>
>>
>>Straw stiffener, what you use on millinery straw (and hats) to keep it in 
>>shape, is pretty effective, and transparent. Use in a well ventilated room 
>>though - it can have odd effects.
>>
>>Suzi
>
> But what does it feel like against the skin?  I'd expect it to be very 
> irritating to have something stiff under my chin like that.  Regular 
> starch is resilient enough to not be too irritating.
>
>
> Joan Jurancich
> joanmj@surewest.net
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I've been meaning to try...in addition to some stiffening agent like starch  
or hat lacquer...zig-zaging some fishing line to the edge of the ruff. If 
you're  attaching some lace to the edge with a narrow zig-zag, why not do it over 
some  medium strength fishing line? If you get the right gauge, it could 
greatly help  in achieving smooth, "bouncy" 8's. But I haven't tried it. It's as  
invisible as that nylon thread they sometimes do blind hems with, but it needs  
to have more body than the thread.
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] EQ-[Fwd: Re: Historic Horse Yahoo group]-OT this list
	for other than Historic Horse Costuming discussions
Date: Mon, 13 Mar 2006 19:12:07 -0500
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How do I use this new group?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 13, 2006, at 1:31 PM, WickedFrau wrote:

> Hi all, for those of you who expressed an interest in an "Other Than 
> Costuming" discussion place for historical equine discussions, here is 
> an option.  I figured I would try it out.  I still intend to post my 
> costume discussions to the h-costume list, but when the topic starts 
> to diverge to more horsey things...we can go here.
>
> Sg
>
> -------- Original Message --------
> Subject:    Re: Historic Horse Yahoo group
> Date:   Mon, 13 Mar 2006 09:25:26 -0800 (PST)
> From:   Diana Wilson <golden_maia@yahoo.com>
> To:     wickedfrau@msn.com
>
>
>
> Hello!
> I would be very open for folks joining in.  Right now my list is very 
> quiet and I would enjoy having more people here!  The only thing that 
> I would like to stay away from is people selling their horses through 
> the public posting.  Information about horse-related costumes of a 
> historic nature would be fantasitc!  I have a few people on the list 
> who belong to other historic interest lists who, I'm am sure, wouldn't 
> mind more folks coming in as well!
> Please feel free to have people sign up and I will approve as soon as 
> I can!
> -GM-
>
> */WickedFrau <wickedfrau@msn.com>/* wrote:
>
>    Hi, I and several others who belong to the Historic Costume List, 
> were
>    considering starting a historic equine list on Yahoo. But I see that
>    you have one with similar interests and was wondering if we might 
> just
>    tag along. In general we would try to keep our horse and people
>    costuming discussions on the latter list because other members have
>    expressed interest in keeping them there even if they aren't
>    focusing on
>    that. But we horsey people, would also like to discuss more general
>    historic horse aspects elsewhere and have a place to exchange 
> pictures
>    of our horses. If this is amenable to you, please let me know.
>    Otherwise we will be happy to start another list....I was thinking 
> "The
>    Historic Equestrian". Thanks,
>
>    Saragrace Knauf
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
References: <232.876aa4a.3145cb02@aol.com> <441572FB.1010608@ece.gatech.edu>
Subject: Re: [h-cost] Greetings and question about a painting
Date: Tue, 14 Mar 2006 13:16:40 +1300
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> I have a question about the fabric/material used in the Beham "Portrait
> of a Man", German/Bavarian, 1529. My original guess was a velvet, but
> looking closer at the image, especially the cut-work in the trim and
> collar, I have begun wondering if this was a suede of some kind. I am
> curious as to what fabrics would be likely.
> Here is a good link to the portrait. Clicking on the image brings up a
> larger view that can go up to 200% of the image to see more of the detail.
> http://www.wga.hu/html/b/beham/barthel/portrait.html

It is entirely possible there are leather/suede elements as there was more
used than is generally understood. I know I recently spotted a discussion on
a list that gave further evidence for leather as outerwear beyond what we
have as extant. And for German men's garb it's more likely still. However a
good wool will also work. I wouldn't use velvet, his clothes are that of the
middle classes (not working) so of good quality but sober. He has been
variously called the Mathematician and the umpire.

This should be familiar even if it's not easy to place. It was the
inspiration behind the Princes' riding outfit in Ever After. I had always
suspected it was so, but when I spotted the costumers of the film had it on
their site, it became proof positive;)
http://www.cosprop.com/showcase.html#26costumes
The thumbnails are there, but to see the larger sketch click "explore the
entire web photo collection" and choose sketches. It's in the first set of
images shown. If you don't have flash enabled I don't think you can see it.


There is also another portrait which is very similar where the man in
question is actually wearing a cloak. The neckline shape is very similar the
pose not too far off. But I can't find it. It may be in my files, but not
where I can get to it easily.

michaela de bruce
http://glittersweet.com



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AlbertCat@aol.com wrote:
> I've been meaning to try...in addition to some stiffening agent like starch  
> or hat lacquer...zig-zaging some fishing line to the edge of the ruff. If 
> you're  attaching some lace to the edge with a narrow zig-zag, why not do it over 
> some  medium strength fishing line? If you get the right gauge, it could 
> greatly help  in achieving smooth, "bouncy" 8's. But I haven't tried it. It's as  
> invisible as that nylon thread they sometimes do blind hems with, but it needs  
> to have more body than the thread.

I've seen this done, and by itself, it doesn't work very well.  You get 
a fairly good shape on the edge, but the body of the ruff just 
collapses--kind of like doing a farthingale with only a single hoop at 
the bottom.  As you suggest, I think you'd have to combine it with 
another stiffening method to get a good result.  You'd also have to tack 
the figure-eights together where they touch unless you're using 
something really sturdy to stiffen (and even then, you'd have to pin or 
clip them together while drying).  I don't think starch could withstand 
the sproing factor of fishing line unless it was really lightweight and 
you mixed the starch really strong.

Melanie Schuessler

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My family's been here forever it seems. Most recent is over 200 
years.  Real  American mongrels, but they've always been  in the south 
states (Virginia, N. Carolina to Texas and south) and on the current 
frontier. We've always joked that if they lived in the southern United 
States 200 years ago, they're family. Every hair and eye color.

Once on a trip in the UK, we stayed in a small hotel in rural central 
Wales. I met a girl who looked so much like my youngest aunt (at that age) 
that it was eerie. Same unusual shade of red hair, body type, etc. For me, 
many years ago my professor of Korean history swore that I looked like some 
of the people who lived in N. Korea up near the northern border... a bit of 
the American Indian coming out.. I'm very pale and I don't sunburn or tan 
easily, though my brother would get so dark that people tried to speak 
Spanish to him.

Beth

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Subject: Re: [h-cost] Stiffening wool felt hats
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In a message dated 3/13/2006 6:18:15 P.M. Eastern Standard Time,  
garden@earthlydelights.com.au writes:

Does  anyone have a recipe I could use to stiffen some hats? 


Again.....hat lacquer.
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Date: Mon, 13 Mar 2006 23:35:03 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Ruffs
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>>>>Now I'm curious:  how many people actually starch their ruffs after
>>>>they're made like I do?
>>>
>>>And I'm curious if anyone has found something permanent to deal 
>>>with the ruffs.  There is a type of stuff sold at craft stores for 
>>>making baskets out of lace doilies.  It sets up permanently and 
>>>supposedly doesn't wash out. I've used white glue thinned with 
>>>water for craft items but never on clothing.
>>>Julie
>>
>>
>>
>>Straw stiffener, what you use on millinery straw (and hats) to keep 
>>it in shape, is pretty effective, and transparent. Use in a well 
>>ventilated room though - it can have odd effects.
>>
>>Suzi
>
>But what does it feel like against the skin?  I'd expect it to be 
>very irritating to have something stiff under my chin like 
>that.  Regular starch is resilient enough to not be too irritating.


I have never had any complaints, and that is how I do all my ruffs. I 
wear them myself and I have skin like the Princess and the Pea, super 
sensitive. I know Jean used that method for ruffs for TV, and actors 
are notoriously fussy. She would not have put it in her book if lots 
of people complained - she'd have found another method.


Suzi


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Ruffs
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At 23:40 13/03/2006, you wrote:
>I've been meaning to try...in addition to some stiffening agent like starch
>or hat lacquer...zig-zaging some fishing line to the edge of the ruff. If
>you're  attaching some lace to the edge with a narrow zig-zag, why 
>not do it over
>some  medium strength fishing line? If you get the right gauge, it could
>greatly help  in achieving smooth, "bouncy" 8's. But I haven't tried 
>it. It's as
>invisible as that nylon thread they sometimes do blind hems with, 
>but it needs
>to have more body than the thread.


I use "gimp",  available in haberdashery/notions stores, for 
tailoring buttonholes. Works very well. I believe fishing line works 
very well for those huge, Dutch style ruffs. You might need to use 
several rows for a really deep ruff though.

Suzi


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: origin of the facial types thread
Date: Mon, 13 Mar 2006 20:43:32 -0500
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On Monday 13 March 2006 12:54 pm, Gail & Scott Finke wrote:
> The way I remember it, someone posted a web site of attendee photos at an
> American SCA event. A member who was a portrait photographer set up shop
> and took pictures of anyone who wanted them, as people do at dances and
> other functions. The original poster, I think, wanted information about a
> particular costume. But people were looking at many of the photos, and
> someone asked why it was that he/she could tell that this was a group of
> Americans without being told ahead of time. Various guesses were posted --
> I remember someone saying that it was because so many had white, straight
> teeth -- but the concensus was the large variety of facial types.

My  husband claims to have an answer to this one, and this isn't it.  Facial 
expression.  In particular, the postions of American English speakers' 
mouths.  Apparently our habital non-speaking mouth positions are more open 
and less pursed than those of Europeans.  That's his theory, anyway.  I 
forget the details of his rationale, but it has to do with the difference in 
vowel types (and the way they are pronounced) in American English versus most 
of the other European languages.  I don't remember for certain whether the 
British look more like Europeans than Americans under this theory, but I'd 
bet the answer is yes because although they speak English, they pronounce 
their vowels much "closer" than most Americans do.

Otherwise, I think a lot of Americans look at least outwardly European.  My 
husband (who spent most of his childhood in various parts of Europe and once 
spoke both Italian and Spanish fluently) is invariably mistaken for a native 
in parts of Germany, Switzerland, and even Scandanavia.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: origin of the facial types thread
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That's what I remember, as well, and it was at least 2, maybe 3 years ago,
in winter.  A Twelfth Night event for one of the west coast kingdoms,
IIRC....
--Sue

----- Original Message -----
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Monday, March 13, 2006 10:54 AM
Subject: [h-cost] Re: origin of the facial types thread


>
> The way I remember it, someone posted a web site of attendee photos at an
> American SCA event. A member who was a portrait photographer set up shop
and
> took pictures of anyone who wanted them, as people do at dances and other
> functions. The original poster, I think, wanted information about a
> particular costume. But people were looking at many of the photos, and
> someone asked why it was that he/she could tell that this was a group of
> Americans without being told ahead of time. Various guesses were posted --
I
> remember someone saying that it was because so many had white, straight
> teeth -- but the concensus was the large variety of facial types.
>
> Gail Finke, who remembers this for some reason


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Subject: [h-cost] Spanish medieval clothes book
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I just got a fantastic new book today, Vestiduras Ricas.  It is the catalog from an exhibit of the extant garments and fabrics that normally live in the Monasterio de las Huelgas in Spain.  I have seen a smaller catalog from the museum at the monastery but when they mounted an exhibit at the Prado in Madrid, they went all out with a coffee table size book and all color pictures.  

Unfortunately, it is very expensive (~$75.00) but I think it was well worth it.  I got it from http://www.artbooks.com/wc.dll?AB~home~&cart=0  , a shop with an incredible selection of European art books, most expensive.  It did take a long time to get here (this was my Valentine present).

Janet 
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Is it of much use for secular clothing?

Fran
Lavolta Press
http://www.lavoltapress.com

JAMES OGILVIE wrote:
> I just got a fantastic new book today, Vestiduras Ricas.  It is the catalog from an exhibit of the extant garments and fabrics that normally live in the Monasterio de las Huelgas in Spain.  I have seen a smaller catalog from the museum at the monastery but when they mounted an exhibit at the Prado in Madrid, they went all out with a coffee table size book and all color pictures.  
> 
> Unfortunately, it is very expensive (~$75.00) but I think it was well worth it.  I got it from http://www.artbooks.com/wc.dll?AB~home~&cart=0  , a shop with an incredible selection of European art books, most expensive.  It did take a long time to get here (this was my Valentine present).
> 
> Janet 
> _______________________________________________
> 
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Date: Mon, 13 Mar 2006 23:50:47 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: ruffs and drawstring necklines
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Thanks everyone for the help!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of tearoses@aol.com
Sent: Monday, March 13, 2006 5:47 PM
To: h-costume@indra.com
Subject: [h-cost] Re: ruffs and drawstring necklines


I am under the impression that ruffs developed from pleatworked collars on
shirts, chemises and partlets. Here's a website that covers some interesting
research on pleatwork: http://www.bellomarisco.com/smocking.php  I think
you'll see that the necklines started out low and pleated (which we moderns
have mistaken for a drawstring) and got higher and higher until a ruffle was
formed by leaving a little bit of fabric free above the pleating, and from
there it's easy to see how a detached ruff developed.

And going back to a much earlier thread about historically-inspired modern
clothes, I'm dying to make myself a blouse with a high, pleatworked collar.
I have the fabric and everything all picked out. Now I just have to figure
out how to stop time long enough to get it finished...

Tea Rose
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Subject: Re: [h-cost] Spanish medieval clothes book
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On Mar 13, 2006, at 7:25 PM, JAMES OGILVIE wrote:

> I just got a fantastic new book today, Vestiduras Ricas.  It is the  
> catalog from an exhibit of the extant garments and fabrics that  
> normally live in the Monasterio de las Huelgas in Spain.  I have  
> seen a smaller catalog from the museum at the monastery but when  
> they mounted an exhibit at the Prado in Madrid, they went all out  
> with a coffee table size book and all color pictures.
>
> Unfortunately, it is very expensive (~$75.00) but I think it was  
> well worth it.  I got it from http://www.artbooks.com/wc.dll? 
> AB~home~&cart=0  , a shop with an incredible selection of European  
> art books, most expensive.  It did take a long time to get here  
> (this was my Valentine present).
>
> Janet
> _______________________________________________

You are a very bad, bad person. [4 books and $200 later] A VERY bad  
bad person.  And I mean that in the nicest possible way. :)

Heather

--
Heather Rose Jones
heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] Spanish medieval clothes book
Date: Mon, 13 Mar 2006 21:26:30 -0800
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On Mar 13, 2006, at 7:37 PM, Lavolta Press wrote:

> JAMES OGILVIE wrote:
>> I just got a fantastic new book today, Vestiduras Ricas.  It is  
>> the catalog from an exhibit of the extant garments and fabrics  
>> that normally live in the Monasterio de las Huelgas in Spain.  I  
>> have seen a smaller catalog from the museum at the monastery but  
>> when they mounted an exhibit at the Prado in Madrid, they went all  
>> out with a coffee table size book and all color pictures.   
>> Unfortunately, it is very expensive (~$75.00) but I think it was  
>> well worth it.  I got it from http://www.artbooks.com/wc.dll? 
>> AB~home~&cart=0  , a shop with an incredible selection of European  
>> art books, most expensive.  It did take a long time to get here  
>> (this was my Valentine present).
>> Janet _______________________________________________

> Is it of much use for secular clothing?
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>

The collection is pretty much entirely secular -- it's primarily  
burial clothing of various nobles whose tombs are at the monastery.   
It's an incredible resource and hasn't been studied in anywhere near  
the depth it deserves to be.

Heather
--
Heather Rose Jones
heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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Subject: Re: [h-cost] Obsessed with underwear
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On Mar 13, 2006, at 7:30 AM, Robin Netherton wrote:

> *coming soon to a volume of Medieval Clothing & Textiles ... vol. 4  
> I hope
> (right, Heather?)

*meekly*  Yes, ma'am.

Heather

--
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Subject: Re: [h-cost] Spanish medieval clothes book
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At 03:25 14/03/2006, you wrote:
>I just got a fantastic new book today, Vestiduras Ricas.  It is the 
>catalog from an exhibit of the extant garments and fabrics that 
>normally live in the Monasterio de las Huelgas in Spain.  I have 
>seen a smaller catalog from the museum at the monastery but when 
>they mounted an exhibit at the Prado in Madrid, they went all out 
>with a coffee table size book and all color pictures.
>
>Unfortunately, it is very expensive (~$75.00) but I think it was 
>well worth it.  I got it from 
>http://www.artbooks.com/wc.dll?AB~home~&cart=0  , a shop with an 
>incredible selection of European art books, most expensive.  It did 
>take a long time to get here (this was my Valentine present).


I saw this wonderful exhibition in Madrid last year. There were a 
number of clothes on display, in remarkable condition, considering 
they were "grave clothes". Unfortunately no photography was allowed, 
and I could not afford the catalogue(book). I think this is the same 
one on sale at the time.  It is not a period I ever do, so I could 
not justify another expensive book!!

Suzi 


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>If anyone wants further information, I now have an update, which is a 
>bit long winded, but will happily forward individually if required.


I would like to see it. Thanks,
Anne

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There's a reason I'm called the Evil Book Lady, although usually it's for books I'm selling.  

Most of the clothes in the book are secular, although there are a few liturgical pieces.  There are also textile fragments, pictures of the monastery and pages from illuminated manuscripts.

Janet

  You are a very bad, bad person. [4 books and $200 later] A VERY bad  
  bad person.  And I mean that in the nicest possible way. :)

  Heather

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http://groups.yahoo.com/group/Historic_Horse/

Go to the above link.  You should be able to see a "Join this Group" 
button.  You will be taken to a page to fill out which will tell the 
moderator of the group why you are interested.  You can reference this 
note....

If  you are new to Yahoo groups, the help screens are actually pretty good:
http://help.yahoo.com/help/groups/

If you have further questions about it, feel free to contact me off - list.

Sg


Susan Data-Samtak wrote:

> How do I use this new group?
>
> Susan
>
> On Mar 13, 2006, at 1:31 PM, WickedFrau wrote:
>

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Subject: [h-cost] Title: Fashion and Fiction: Dress in Art and Literature in
 Stuart England
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Saw this on my way to look at the Spanish Medieval book Janet 
recommended...thought some of you might be interested.

Sg

Item Number: 47054
*Title: Fashion and Fiction: Dress in Art and Literature in Stuart England*
Author: RIBEIRO, AILEEN
*Price: $65.00*
ISBN: 0300109997
Description: New Haven and London: Yale University Press, 2006. 29cm., 
cloth, 387pp., 224 illus., ca. 80 in color. (Focusing on the rich visual 
culture of the seventeenth century, including portraits, engravings, 
fashion plates, and sculpture, and on literary sources—poetry, drama, 
essays, sermons—the distinguished historian of dress Aileen Ribeiro 
creates a fascinating account of Stuart dress and how it both reflected 
and influenced society. Supported by a wealth of illustrative images, 
she explores such varied themes as court costumes, the masque, the ways 
in which political and religious ideologies could be expressed in dress, 
and the importance of London as a fashion center. This beautiful book is 
an indispensable and authoritative account of what people wore and how 
it related to Stuart England’s cultural climate).



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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] what do renaissance seamen look like?
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Thank you all for your wonderful info on renaissance mariners, a better 
word when said out loud in public than seamen.

I've been busy with my debunking outline collecting pertinent samples of 
images that I've become a bit behind in my email reading. But I do 
appreciate the various sources to look up, and images that were sent to me.

Thank you all again.

Kimiko

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At 06:10 AM 3/13/2006, you wrote:
>Anyway I have never seen anything about a drawstring that is Medieval or
>Renaissance. As a matter of fact something I read said it was the result of
>the
>"I need 100 chemises fast" mindset of the original Ren Faires. The chemises
>I have seen--- and this is only in paintings, mind you-- show no indication
>of a drawstring in the neck-- either a high neckline or low neckline.


The only source I know of is the Winter and Savoy book on Renaissance faire 
costuming. I hate that book, as there are a number of inaccuracies, but it 
was my first book when I first joined faire. I've since given my copy away.

But thank you for reminding me about this Ren faire garb myth. I have added 
it to my collection of garb myths that I am working on debunking. I've been 
so busy looking up pics for my list that I haven't been able to catch up on 
my e-mail.

Kimiko


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Date: Tue, 14 Mar 2006 09:45:28 +0000 (GMT)
From: Lena <lenastrid@yahoo.com>
Subject: Re: [h-cost] Medieval clerical underwear
To: Historical Costume <h-costume@indra.com>
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>From "The Rule of St Benedict", chapter 55.

In latin: (for those who don't trust translations :-) 
Femoralia hi qui in via diriguntur de vestario
accipiant, quae revertentes lota ibi restituant. Et
cucullae et tunicae sint aliquanto a solio quas habent
modice meliores; quas exeuntes in via accipiant de
vestario et revertentes restituant.

And in English:
Brothers going on a journey should get underclothing
from the wardrobe. On their return they are to wash it
and give it back. Their cowls and tunics, too, ought
to be somewhat better than those they ordinarily wear.
Let them get these from the wardrobe before departing,
and on returning put them back.


On a related note, I'd like to bring attention to the
book "Requiem. The Medieval monastic cemetery in
Britain", by R. Gilchrist and B. Sloane (2005). In
chapter 5, they discuss burial clothing and dress
accessories. Apparently, in quite a few cemeteries
dating to the 14th century, pairs of annular (round)
buckles have been found at the upper femurs of males.
They argue that these would have been used to attach
the hose to the breech-belt. These bodies may have
belonged to laymen rather than monks, though.


/Lena


--- Robin Netherton <robin@shell.nightowl.net> wrote:

> 
> Below forwarded from another list. I could swear
> we've talked about this
> before -- it's in one of the monastic rules, I
> think, perhaps the passage
> that mentions "femoralia" that gets brought up every
> so often? Anyone have
> a source?
> 
> 
> ---------- Forwarded message ----------
> 
> I think that medieval monastic legislation on dress
> often specified that
> underwear had to be worn by monks or friars when
> going outside the
> monastery: i.e. there was a pragmatic concern for
> modesty when travelling
> about, which would not apply, of course, at burial.
> I've just looked in
> Giancarlo Rocca, ed., La sostanza dell'effimero: gli
> abiti degli ordini
> religiosi in occidente (Rome: Edizioni Paoline,
> 2000) for verification,
> but without success. Someone else may have a source
> to hand.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



		
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Subject: [h-cost] Toga trim in Gladiator..
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I was rewatching Gladiators this weekend and wondered if there were some 
color system to the toga trims.  In some scenes there seemed to be 
groups of black trim, red and I think blue....anyone aware of any 
historical information for this?
Thanks,

Sg
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	<4415EDB8.90505@earthlydelights.com.au>
Subject: Re: [h-cost] Stiffening wool felt hats
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Taking a hint from my sister the dollmaker, get a can of cheap hairspray
like Aquanet and spray the hat inside and out to a feel of saturation.  As
the hat dries, work the 'dents' out with your fingers and mold it to the
shape you want.  Spray lightly for the finish and let it dry thoroughly. I
have been using this method on recondition my round hats and tricorns etc
for some time and they look very nice.

Kathleen

----- Original Message ----- 
From: "A & J Garden" <garden@earthlydelights.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 13, 2006 5:10 PM
Subject: [h-cost] Stiffening wool felt hats


> Does anyone have a recipe I could use to stiffen some hats? I've got
> some old floppy wool felt hats I want to turn into cavalier hats.
> Thanks, Aylwen
>
> http://www.earthlydelights.com.au
>
> _______________________________________________
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Subject: Re: [h-cost] Spanish medieval clothes book
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I had ordered my copy from Thomas Heneage Art Books in London (40 GBP) as I 
didn't find it in the States. I'll have to keep a closer eye on that dealer.

I also broke down and ordered (from another source):
Nouveau Recueil des Comptes de l'Argenterie des Rois de France, publiés 
pour la Société de l'Histoire de France. . by DOUËT d'ARCQ, Louis, ed 
Paris: Librairie Renouard, 1874. [8] lxxj [1] 359 [1]p.

Heather, which ones did you get?

Beth - confirmed book addict

At 01:25 AM 3/14/2006, you wrote:
>Date: Mon, 13 Mar 2006 21:14:07 -0800
>From: Heather Rose Jones <heather.jones@earthlink.net>
>Subject: Re: [h-cost] Spanish medieval clothes book
>
>You are a very bad, bad person. [4 books and $200 later] A VERY bad
>bad person.  And I mean that in the nicest possible way. :)
>
>Heather


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I've also used the starch in a can after I've washed my ruffs.  A couple of coats of that and the ruff stands up beautifully.  It's not quite so messy.  The trick is to mist the starch on so they don't collapse under a spray of liquid.  Using this method means I don't have to take the ruff apart either.

Gwenhwyfar


Date: Mon, 13 Mar 2006 18:29:58 EST
From: AlbertCat@aol.com
Subject: Re: [h-cost] Ruffs
To: h-costume@indra.com
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In a message dated 3/13/2006 3:36:17 P.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

Straw  stiffener, what you use on millinery straw (and hats) to keep 
it in  shape,


What we sometimes call "Hat Lacquer".

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Gather the sleeves into wristbands, closed with ribbon ties. The neck gathers can be stitched onto a band or facing (something like the ecclesiastical surplice, only they usually have a wider band at the top than you would want on a shift).
According to Nicole Kipar, who used to be on this list, the ribbon ties should not be stitched on but should pass through two buttonholes (for 17th century garments).

Kate Bunting
Librarian and 17th century reenactor

>>> roscelinlimoges@comcast.net 13/03/2006 16:31 >>>
Is there anywhere I can see how this is done?  This is the first time I've heard about this technique.  I was always under the belief that drawstrings were used in the neckline and cuffs.  Since I have to make myself some new chemises this is a good time to learn the new technique (new to me).

Roscelin

 
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Glove pic
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Okay, I have everything fixed. This is the drawing I
was talking about:

http://ca.geocities.com/absynthe30/avatars/hand.jpg

Look familiar to anyone?

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Date: Tue, 14 Mar 2006 15:59:06 -0500
From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: Re: [h-cost] Glove pic
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Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:

> Okay, I have everything fixed. This is the drawing I
> was talking about:
>
> http://ca.geocities.com/absynthe30/avatars/hand.jpg
>
> Look familiar to anyone?

No, but that is such a Cool Glove, I can see why you're trying to track
it down!  I can't wait to see what turns up.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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At 12:59 PM 3/14/2006, you wrote:
>Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:
>
>>Okay, I have everything fixed. This is the drawing I
>>was talking about:
>>
>>http://ca.geocities.com/absynthe30/avatars/hand.jpg
>>
>>Look familiar to anyone?
>
>No, but that is such a Cool Glove, I can see why you're trying to track
>it down!  I can't wait to see what turns up.
>
>Susan

I keep thinking I've seen this glove before, but I have seen similar 
ones in the portrait of Lady Mary Neville and her Son Gregory 
Fiennes, 10th Baron Dacre (1559) (formerly misidentified as Frances 
Brandon, Duchess of Suffolk, and her 2nd husband, Adrian Stokes), 
both of whom are holding pairs of gloves (the lady's are simply 
decorated with jeweled buttons and edge snips) and in the portrait of 
Elizabeth Cornwallis, Lady Kytson (1573), in which her gloves have a 
light-colored cuff decorated with what I think are ribbon bows (my 
picture is small and the details are hard to see clearly).  Both 
these portraits are in "Dynasties: Painting in Tudor and Jacobean 
England 1530-1630", edited by Karen Hearn (ISBN 084781940X).

Hope this helps a bit.


Joan Jurancich
joanmj@surewest.net 

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To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Glove pic
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> >Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:
> >
> >>Okay, I have everything fixed. This is the drawing I
> >>was talking about:
> >>
> >>http://ca.geocities.com/absynthe30/avatars/hand.jpg
> >>
> >>Look familiar to anyone?
> >
> >


When I went hunting gloves with slashes over the fingers they seemed to be
more German than English, so you might try that venue as well.

alex
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Subject: Re: [h-cost] Glove pic
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<<The drawing is from Cunningtons' "Handbook of English Costume in the
Sixteenth Century". When I checked her
source for the drawing, it was not an original painting as I had hoped, but
another book (Kelly's "Shakespearean Costume"). I know I have seen these
gloves in a painting just recently but I can't for the life of me recall the
painting itself. I had found a close-ish Spanish one, but it's hard to tell.
Does it ring a bell for anyone?>>

> http://ca.geocities.com/absynthe30/avatars/hand.jpg


My first instinct was Spanish as well, due to how the hand is displayed (the
hand is vertical and holding either a glove or a handkerchief) and those
bows (Germans weren't quite as fond of bows as the Spanish were... I found a
lovely child's portrait on bildindex where she is wearing jewellery bows
even! Mind you the English are also fond of them....) but I have a feeling
in the redrawings some features may have changed.

It's very easy to show the glove style in German dress, very easy indeed.
I'm not sure I have any files large enough for Spanish dress to show
slashes:

Aha! Isabel de Valois, painted by Coello but clearly in French dress:
http://www.bildindex.de/bilder/fmlac10526_08a.jpg
http://sayaespanola.glittersweet.com/juana.htm
A couple of portraits here show slashed gloves as well.

True non have that strange cuff thing, but as it's a redrawing of a
redrawing it may be a bit difficult to determine if it was well drawn in the
first place. There are slashes at the wrists of several of them, and they
are worn with wrist ruffs so I wonder if maybe the original sketch mixed the
two together.

http://img.photobucket.com/albums/v609/glittersweet/saya/untitled5.jpg
This is an example of a glove on a hand, it might be Ana de Austria.
http://sayaespanola.glittersweet.com/anadeaustria.htm
Or at least a copy of one the portraits here.
Her gloves though are not slashed.
http://sayaespanola.glittersweet.com/mariadeaustria.htm
Ditto here it looks like.


michaela de bruce
http://glittersweet.com



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That is very sheek! :-)
What would you use for the small bows?
I would recomend you to use silk ribbon of the kind used for ribbon work, 
its so soft and delicate and would make very nice bows.

Bjarne

----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: "Historical Costume List" <h-costume@mail.indra.com>
Sent: Tuesday, March 14, 2006 9:09 PM
Subject: [h-cost] Glove pic


> Okay, I have everything fixed. This is the drawing I
> was talking about:
>
> http://ca.geocities.com/absynthe30/avatars/hand.jpg
>
> Look familiar to anyone?
>
> Kathy
>
> Ermine, a lion rampant tail nowed gules charged on the shoulder with a 
> rose Or barbed, seeded, slipped and leaved vert
>
> It's never too late to be who you might have been.
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At 23:01 14/03/2006, you wrote:
>That is very sheek! :-)
>What would you use for the small bows?
>I would recomend you to use silk ribbon of the kind used for ribbon 
>work, its so soft and delicate and would make very nice bows.
>
>Bjarne
>
>----- Original Message ----- From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
>To: "Historical Costume List" <h-costume@mail.indra.com>
>Sent: Tuesday, March 14, 2006 9:09 PM
>Subject: [h-cost] Glove pic
>
>
>>Okay, I have everything fixed. This is the drawing I
>>was talking about:
>>
>>http://ca.geocities.com/absynthe30/avatars/hand.jpg
>>
>>Look familiar to anyone?


This looks like a redrawing from a painting of someone who was 
imprisoned in the Tower of London, and was painted with a cat. I 
copied these gloves for the Tower some years ago. I will look out the 
research and post as soon as I can.

Suzi 


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Glove pic
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Quoting michaela <thebruce@ihug.co.nz>:

> <<The drawing is from Cunningtons' "Handbook of English Costume in the
> Sixteenth Century". When I checked her
> source for the drawing, it was not an original painting as I had hoped, but
> another book (Kelly's "Shakespearean Costume"). I know I have seen these
> gloves in a painting just recently but I can't for the life of me recall the
> painting itself. I had found a close-ish Spanish one, but it's hard to tell.
> Does it ring a bell for anyone?>>
>
>> http://ca.geocities.com/absynthe30/avatars/hand.jpg
>
>
> My first instinct was Spanish as well, due to how the hand is displayed (the
> hand is vertical and holding either a glove or a handkerchief) and those
> bows (Germans weren't quite as fond of bows as the Spanish were... I found a
> lovely child's portrait on bildindex where she is wearing jewellery bows
> even! Mind you the English are also fond of them....) but I have a feeling
> in the redrawings some features may have changed.

OOOh, cool!  Do you have a URL or an accession number for that child's
portrait?

susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From h-costume-bounces@indra.com  Tue Mar 14 21:14:47 2006
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Subject: [h-cost] Help with contract work fees
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Help fellow listees,

I just got word that my position as Historic Costume Designer at 
Strawbery Banke had been reorganized out of existence, and I'm looking 
at the 14 shifts and probably 14 girls gowns that need to be made for 
this summers camp.  I've heard that I might me asked to make them on a 
contract basis, so here is my question.  What would be a reasonable 
amount to charge for making these garments, if I should be asked?  Even 
though I've been sewing at SB for 5 years now, I have no idea how much 
time it has taken me to make each item I've made.  It's gotten all mixed 
up with laundry and repairs, etc.

I'm also wondering about the Jr. Roleplayers camp that's to be set in 
the early 20th century.  Nothing in the collection for 1919, so I had 
expected to be doing that, and of course still might but on a different 
arrangement.

So if anyone can give me some guidelines on what to charge, I would 
appreciate it.  Answer on or off list as seems appropriate.

Dot Fisher
former Historic Costume Designer
Strawbery Banke Museum
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From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Toga trim in Gladiator..
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At 05:07 AM 3/14/2006, you wrote:
>I was rewatching Gladiators this weekend and wondered if there were 
>some color system to the toga trims.  In some scenes there seemed to 
>be groups of black trim, red and I think blue....anyone aware of any 
>historical information for this?
>Thanks,
>
>Sg

The only color I have read about was purple (stripes of various 
defined widths that show class status), and that was restricted to 
senatorial and knightly classes.  I don't know about any other colors.


Joan Jurancich
joanmj@surewest.net 

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To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] Glove pic
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Ah ha, Suzi, you've got it!  It is Henry Wriothesley, the third Earl 
of Southampton.  You can find his portrait in the portrait section of 
the  http://www.boughtonhouse.org.uk/ page or I think this will take 
you directly there:
http://www.boughtonhouse.org.uk/htm/gallery2/paintings/earlofsoton.htm
An interesting piece of trivia about this portrait...it is supposedly 
the first English portrait painted with a cat in it.

Cheers,
Danielle

At 05:42 PM 3/14/2006, you wrote:
>At 23:01 14/03/2006, you wrote:
>>That is very sheek! :-)
>>What would you use for the small bows?
>>I would recomend you to use silk ribbon of the kind used for ribbon 
>>work, its so soft and delicate and would make very nice bows.
>>
>>Bjarne
>>
>>----- Original Message ----- From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
>>To: "Historical Costume List" <h-costume@mail.indra.com>
>>Sent: Tuesday, March 14, 2006 9:09 PM
>>Subject: [h-cost] Glove pic
>>
>>
>>>Okay, I have everything fixed. This is the drawing I
>>>was talking about:
>>>
>>>http://ca.geocities.com/absynthe30/avatars/hand.jpg
>>>
>>>Look familiar to anyone?
>
>
>This looks like a redrawing from a painting of someone who was 
>imprisoned in the Tower of London, and was painted with a cat. I 
>copied these gloves for the Tower some years ago. I will look out 
>the research and post as soon as I can.
>
>Suzi

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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Glove pic
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At 08:38 15/03/2006, you wrote:
>Ah ha, Suzi, you've got it!  It is Henry Wriothesley, the third Earl 
>of Southampton.  You can find his portrait in the portrait section 
>of the  http://www.boughtonhouse.org.uk/ page or I think this will 
>take you directly there:
>http://www.boughtonhouse.org.uk/htm/gallery2/paintings/earlofsoton.htm
>An interesting piece of trivia about this portrait...it is 
>supposedly the first English portrait painted with a cat in it.


Thanks Danielle - save me having to search for my references!

Suzi


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Wed, 15 Mar 2006 12:04:45 +0100
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Subject: [h-cost] embroidered mittens
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Hi,
Here is the first embroidered mittens. It is a little tricky because they
are going to be cut on the bias, and they cant stretch where the embroidery
is, ill waite and see how it goes.
http://www.my-drewscostumes.dk/purse.htm

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: [h-cost] Theatre Museum update (3rd try)
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My apologies if you receive this more than once - this is my third 
attempt to post. It is not coming back to me, so I assume it is not 
getting posted.

"Dear Suzi,

Thank you for your email to the Director.

The press coverage is misleading, because the Trustees of the V&A have
not yet made a decision.

One option is to close the building, but others would include a
different mix of activities in the building.

The Theatre Museum has had no success in raising the capital money for
redevelopment of its current premises (which it rents, not owns)  and
the feedback from potential public and private donors is that the funds
needed to transform the Theatre Museum's building in Covent Garden
would not repay the investment given the limitations of the building.

Given the serious limitations of the building we are looking at the
feasibility of achieving greater appreciation of the collections without
continuing with the building.

If we had no Covent Garden building we would be looking at:

1.  having a permanent display about the collections at the main
building in South Kensington

2.  running education programmes in our new Education Centre

3.   large and smaller scale exhibitions at the main museum building

4.   more touring exhibitions (in the UK and abroad)

5.   more partnerships with major theatre organisations in the UK

6.   Much greater investment in digitising the collection and providing
web access and education material.  Visits to the Theatre Museum website
have been growing rapidly.

It is worth remembering that the displays at Covent Garden represent a
very tiny fraction of the collections.  The core study collection moved
in 2005 to Blythe House (our storage and research centre in west london)
where it was united with the reserve collection - This move has been
very successful and the study room there provides much better access.

Interestingly, most of the emails we have had so far are mainly
concerned about the preservation of the archives and we are also very
concerned to increase access (eg. through extended opening hours at
Blythe House and greater web access to the collections).



Ian Blatchford
Deputy Director"


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Subject: Re: [h-cost] Glove pic
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What is the reason that several Dutch portraits have the person wearing one 
glove and holding the other? Most of them are on the right hand but the one 
of Valois one is on the left.
If nothing else, I've been introduced to the massive amounts of portraits 
from the references in this discussion board.
----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 15, 2006 3:38 AM
Subject: Re: [h-cost] Glove pic


> Ah ha, Suzi, you've got it!  It is Henry Wriothesley, the third Earl of 
> Southampton.  You can find his portrait in the portrait section of the 
> http://www.boughtonhouse.org.uk/ page or I think this will take you 
> directly there:
> http://www.boughtonhouse.org.uk/htm/gallery2/paintings/earlofsoton.htm
> An interesting piece of trivia about this portrait...it is supposedly the 
> first English portrait painted with a cat in it.
>
> Cheers,
> Danielle
>
> At 05:42 PM 3/14/2006, you wrote:
>>At 23:01 14/03/2006, you wrote:
>>>That is very sheek! :-)
>>>What would you use for the small bows?
>>>I would recomend you to use silk ribbon of the kind used for ribbon work, 
>>>its so soft and delicate and would make very nice bows.
>>>
>>>Bjarne
>>>
>>>----- Original Message ----- From: "Kathy Page" 
>>><caitlin_oduibhir@yahoo.ca>
>>>To: "Historical Costume List" <h-costume@mail.indra.com>
>>>Sent: Tuesday, March 14, 2006 9:09 PM
>>>Subject: [h-cost] Glove pic
>>>
>>>
>>>>Okay, I have everything fixed. This is the drawing I
>>>>was talking about:
>>>>
>>>>http://ca.geocities.com/absynthe30/avatars/hand.jpg
>>>>
>>>>Look familiar to anyone?
>>
>>
>>This looks like a redrawing from a painting of someone who was imprisoned 
>>in the Tower of London, and was painted with a cat. I copied these gloves 
>>for the Tower some years ago. I will look out the research and post as 
>>soon as I can.
>>
>>Suzi
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
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> In latin: (for those who don't trust translations :-)
> Femoralia hi qui in via diriguntur de vestario
> accipiant, quae revertentes lota ibi restituant. Et
> cucullae et tunicae sint aliquanto a solio quas habent
> modice meliores; quas exeuntes in via accipiant de
> vestario et revertentes restituant.
> 
> And in English:
> Brothers going on a journey should get underclothing
> from the wardrobe. On their return they are to wash it
> and give it back. Their cowls and tunics, too, ought
> to be somewhat better than those they ordinarily wear.
> Let them get these from the wardrobe before departing,
> and on returning put them back.

Wow! And I thought "Wear clean underwear without holes in case you get in a
car crash and have to go to the hospital" was a NEW sensibility!

Gail Finke


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From h-costume-bounces@indra.com  Wed Mar 15 08:12:24 2006
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <C03D83C7.1D0A9%gailscott@eos.net>
Subject: Re: [h-cost] Re: monk underwear
Date: Wed, 15 Mar 2006 08:14:02 -0500
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This was my first thought, too!! Makes one wonder what the daily "Rule" was.

Kathleen

----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Wednesday, March 15, 2006 7:41 AM
Subject: [h-cost] Re: monk underwear


>
>
> > In latin: (for those who don't trust translations :-)
> > Femoralia hi qui in via diriguntur de vestario
> > accipiant, quae revertentes lota ibi restituant. Et
> > cucullae et tunicae sint aliquanto a solio quas habent
> > modice meliores; quas exeuntes in via accipiant de
> > vestario et revertentes restituant.
> >
> > And in English:
> > Brothers going on a journey should get underclothing
> > from the wardrobe. On their return they are to wash it
> > and give it back. Their cowls and tunics, too, ought
> > to be somewhat better than those they ordinarily wear.
> > Let them get these from the wardrobe before departing,
> > and on returning put them back.
>
> Wow! And I thought "Wear clean underwear without holes in case you get in
a
> car crash and have to go to the hospital" was a NEW sensibility!
>
> Gail Finke
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From h-costume-bounces@indra.com  Wed Mar 15 08:43:24 2006
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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <4417783B.4030707@ttlc.net>
Subject: Re: [h-cost] Help with contract work fees
Date: Wed, 15 Mar 2006 07:42:56 -0600
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I can't give you any specific numbers, but do not sell yourself short! 
Contract work means an extra 15% in self-employment tax, and if you're 
losing office space or other overhead type things, you'll need to compensate 
for that as well.  Make sure you know who'll be paying for your supplies; in 
some types of contract work, the contractor is expected to cover expenses.

Also, is SB in financial trouble?  I just glanced at their website, which 
has their 2004 annual report (but nothing more recent) and it looks like 
they were doing pretty good then.  If they're not in trouble, but are 
reorganizing for the sake of reorganizing, don't be afraid to negotiate even 
if this sort of job is a bit on the rare side--you're the one who knows what 
they do there and how they do it.

-E House 

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From: Lena <lenastrid@yahoo.com>
Subject: Re: [h-cost] Re: monk underwear
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--- Lloyd Mitchell <rmitchell@washjeff.edu> wrote:

> <snip>
> Makes one wonder what the daily "Rule" was.
> 
> Kathleen
>

Well, since the copies were still in my bag...

In English only, 'cos I'm lazy:
"The clothing distributed to the brothers should vary
according to local conditions and climate, because
more is needed in cold regions and less in warmer.
This is left to the abbot's discretion. We believe
that for each monk a cowl and tunic [cucullam et
tunicam] will suffice in temperate regions; in winter
a woolen cowl is necessary, in summer a thinner or
worn one; also a scapular [scapulare] for work, and
footwear - both sandals and shoes [pedules et
caligas].
[...]
To provide for laundering and night wear, every monk
will need two cowls and two tunics, but anything more
must be taken away as superfluous."

It doesn't say anything about hosen, but I'm not sure
if that's due to the translation, or if Benedict wrote
it with a mediterranean climate in mind. Or possibly
they should just put up with the cold.

/Lena 


		
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] finished belt pouch
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Hi,
With permission of the commisioner, i have posted pics of the finished 
medieval belt pouch with lion rampants at:
http://www.my-drewscostumes.dk/beltpouch.htm
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: Re: [h-cost] finished belt pouch
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Beautifully done, Bjarne!  I'm curious--what is that silver cord couched 
around the edge of the flap?  It looks a bit like some of the jaceron/pearl 
purl stuff I've been window shopping at lately.

-E House 

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Subject: Re: [h-cost] finished belt pouch
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Hi,
Well i dont actually know the excact name of this type of metal thread. I 
baught this from Silke Anette in Denmark, who carries all the hard to find 
things here. Its not hollow inside, but i cauched it on with red sewing 
silk.

Bjarne
----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 15, 2006 3:41 PM
Subject: Re: [h-cost] finished belt pouch


> Beautifully done, Bjarne!  I'm curious--what is that silver cord couched 
> around the edge of the flap?  It looks a bit like some of the 
> jaceron/pearl purl stuff I've been window shopping at lately.
>
> -E House
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Ooh! I was just reading about this! The Roman hippodrome had four stables which each had a different color associated with it: red, green, blue, and white. They were like different teams, so maybe the filmmakers assumed people would have dressed in their teams' colors just like modern sports fans (and I wouldn't be surprised if they were right). Those four colors were also associated with the four political factions that served as labor unions/guilds/political machines for the city of Rome, and later Constantinople, so alternatively, they could have been implying that those people were supporters of those factions. I haven't found out yet if the stables were associated with the factions, but in Constantinople, the emperor Justinian was nearly overthrown by an alliance of the four factions at the end of a chariot race in the hippodrome, which seems to have been used by the factions to whip the crowd into a suitably revolutionary frenzy.
 
I hope this helps!
 
Tea Rose
-----------------------

Date: Tue, 14 Mar 2006 06:07:04 -0700
From: WickedFrau <wickedfrau@msn.com>
Subject: [h-cost] Toga trim in Gladiator..

I was rewatching Gladiators this weekend and wondered if there were some 
color system to the toga trims.  In some scenes there seemed to be 
groups of black trim, red and I think blue....anyone aware of any 
historical information for this?
Thanks,

Sg
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Oops, sorry for the double post!
 
Tea Rose
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Subject: Re: [h-cost] Re: monk underwear
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Does anyone have similar info on nuns around 700?  All I've found is  
the Rule of Ceasarius.
Althea


On Mar 15, 2006, at 6:16 AM, Lena wrote:

>
> --- Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
>
>> <snip>
>> Makes one wonder what the daily "Rule" was.
>>
>> Kathleen
>>
>
> Well, since the copies were still in my bag...
>
> In English only, 'cos I'm lazy:
> "The clothing distributed to the brothers should vary
> according to local conditions and climate, because
> more is needed in cold regions and less in warmer.
> This is left to the abbot's discretion. We believe
> that for each monk a cowl and tunic [cucullam et
> tunicam] will suffice in temperate regions; in winter
> a woolen cowl is necessary, in summer a thinner or
> worn one; also a scapular [scapulare] for work, and
> footwear - both sandals and shoes [pedules et
> caligas].
> [...]
> To provide for laundering and night wear, every monk
> will need two cowls and two tunics, but anything more
> must be taken away as superfluous."
>
> It doesn't say anything about hosen, but I'm not sure
> if that's due to the translation, or if Benedict wrote
> it with a mediterranean climate in mind. Or possibly
> they should just put up with the cold.
>
> /Lena
>
>
> 		
> ___________________________________________________________
> Win a BlackBerry device from O2 with Yahoo!. Enter now. http:// 
> www.yahoo.co.uk/blackberry
> _______________________________________________
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Althea Turner
althea@alfalfapress.com

"Ignorant themselves of the forces of nature and wanting to have  
company in their ignorance, they don't want people to look into  
anything; they want us to believe like peasants and not ask the  
reasons behind things."
William of Conches, 12th century


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From: AnnBWass@aol.com
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Subject: Re: [h-cost] Help with contract work fees
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In a message dated 3/15/2006 8:43:33 A.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

Contract  work means an extra 15% in self-employment tax, 


Yes, be sure you remember that you will be responsible for not only income  
tax, but both portions of social security withholding (that is, employer and  
employee).  However, also remember that, as this is Schedule C income, you  can 
deduct ALL your expenses.
 
Ann Wass
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Subject: Re: [h-cost] Glove pic
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Becky wrote:

> What is the reason that several Dutch portraits have the person 
> wearing one glove and holding the other? 


So... Michael Jackson was influenced by Dutch Renaissance Portraiture!
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Well i dont actually know the excact name of this type of metal thread. I 
> baught this from Silke Anette in Denmark, who carries all the hard to find 
> things here. Its not hollow inside, but i cauched it on with red sewing 
> silk.

Ah well--it looks very nice!

-E House 

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From: "Joannah Hansen" <Joannah@SLUGGY.NET>
To: <h-costume@indra.com>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Some links for you:

http://homepage.mac.com/festive_attyre/gallery/linens/undies.html
 - chemises at the bottom of the page

http://homepage.mac.com/festive_attyre/research/diary/diary3.html
 - a how to for a gathered neck chemise

http://costume.dm.net/chemise.html
 - the smock generator which links from this page is very good

http://www.vertetsable.com/demos_shirt.htm
 - the demo is for a shirt, but shifts/chemises had very little to distinguish them from each other - usually only the length ( a shift tended to be longer ) and whether the garment had side gores or was just straight up and down ( shifts had the side gores )
 - this entire site is well worth having a good look at.

http://freespace.virgin.net/f.lea/shiftdesign.html
 - some good pictures

http://realmofvenus.renaissancewoman.net/wardrobe/firstthingsfirst.htm
 - follow the links to some good pictures of extant chemises

http://katerina.purplefiles.net/garb/diaries/hand%20Linen%20camicia.htm
 - another gathered and stitched neckline

http://katerina.purplefiles.net/garb/diaries/Morgans%20Closet/Chemise%201630.htm
 - another shift

HTH

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- roscelinlimoges@comcast.net wrote:

Is there anywhere I can see how this is done?  This is the first time I've heard about this technique.  I was always under the belief that drawstrings were used in the neckline and cuffs.  Since I have to make myself some new chemises this is a good time to learn the new technique (new to me).

Roscelin

 -------------- Original message ----------------------
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
> We've debated this topic more than once and the general consensus seems to be 
> that chemises/shifts before the 18th century had stitched-down gathers, not 
> drawstrings. 17th century reenactors commonly do make shifts with drawstrings, 
> presumably because that's how we would make modern garments that look like that 
> (i.e. "peasant" or "gypsy"-style blouses). 
> I'm not a Tudor expert, but presumably the ruff developed from a chemise neck 
> gathered into a ruffle?
> 
> Kate Bunting
> Librarian and 17th century reenactor
> 


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Date: Wed, 15 Mar 2006 08:40:58 -0800
From: Nancy Millis-MacHaffie <n.mm@gte.net>
Subject: Re: [h-cost] Help with contract work fees
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I'm sorry, Dot.  :(    <<Many  Hugs>>

As a former Payroll Specialist

contractor vs employee

contractors use their own equipment, no one tells the contractor how to 
*do* the work, but does tell them what the finished product will look 
like.  Are they going to supply the materials or are you going to to buy 
them.  (That actually makes a big difference)


This might help a bit.  My husband wrote a technical book and here is what 
we had to pay as self employed.

Federal taxes: 28%
SS (emplyee)   7.65%
SS (empyer)     7.65%
State Tax:       varies, you'll have to check...

This comes out of your pocket at quarter end when you must file an 
estimated or business tax...  I'm not sure which, but I'm sure someone else 
knows.  :)  So if they offer you your old hourly rate, it will really be a 
7.65% pay cut for you.  Also, I don't believe you can pay at your old 
Federal rate, which may or may not have been around 10 - 15%, so that's 
another (temporary?) pay cut.  You should get the difference back at the 
end of the year, but that's a bit long to wait...  State rates may also 
change self employed vs employee withholding, possible another (temporary?) 
pay cut.


There are also your expenses.
Your machine wear and tear
Electricity
Cost of Goods purchased  (If you are using their equipment and their 
materials, you are probably *not* a contractor.  I'm not sure of the rules 
for "Piecework" compensation.)
Hourly wage for you.  At least minimum in your state.

HTH

Kids are up so I must fly

Good luck!

Nancy MM



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Subject: [h-cost] 
	Vintage Clothing "Swap Meet" & tea dance - Palo Alto, Calif
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sorry for the short notice, ladies & gents!
--cin
Cynthia Barnes
CinBarnes@gmail.com

On March 26, 2006 there will be a Vintage Clothing "Swap Meet" from
3:30 - 4:00pm at the Masonic Center preceding the Paul Price Society
Orchestra Monthly  Tea Dance.  Come to the sale, and stay for the
dance (see information below). The sale will continue from 4:00 to
6:30 outside the Tea Dance (which has an admission charge).

Everyone is welcome to bring vintage or "vintage-like" clothing or
accessories to sell or trade. We will have tables set up, but bring
your own hanging racks if you have them.  There will be some great
bargains, so bring your check book!

For more information, email Karen at kalinsky@stanford.edu

--------------------------------
March 26, 2006
The Pomander/Art Deco Tea Dance

Featuring vintage dance music played with authentic élan by
  The Paul Price Society Orchestra
  "Like being in The Big Broadcast of 1928!"

The Art Deco Society of California Announces
  The Pomander Tea Dances
On the Fourth Sunday of Every Month through April

(Next Dance:Sunday, April 23, 2006)

4:00 to 6:30 p.m.
Palo Alto Masonic Center, 461 Florence (near University)
$12.50 per person/$10.00 ADSC Members
Tea and light refreshments will be served.

Afternoon/cocktail attire; period dress admired but not required.
For more information, please call 650-279-3598, or go to
www.PaulPriceOrchestra.com.

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Subject: [h-cost] Equestrian, et al
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I had no idea there were so many! Went to my first Ithra (SCA school) this weekend, and was overjoyed to meet some like minded people (costuming, horses and cooking!) 
   
  First of all, begging pardon for mentioning certain items and not posting links, it becomes really awkward without opening a half dozen other windows at the same time, and I usually end up closing the wrong ones and losing my message. I will do a search to see if I can find pictures of some of the references I mention in response.
   
  It has been a busy week, but finally able to get back to the costume list. Am I the only one that did not recieve issue 230?
   
  Attended a class on equestrian barding this weekend, and one of the things that came up in discussion was the aside vs. astride issue.
   
  >Message: 2
>Date: Mon, 6 Mar 2006 13:09:35 -0600
>From: "Diane Maynard" <camelothorse@earthlink.net>
>Subject: RE: [h-cost] Equestrian costumers and other hobbies - sort of
>OT
>
>-----Original Message-----
>Annette and others-
>
>Can we make a subgroup that deals with riding outfits and horse items?  
>
>Personally, I am right there with you on the costuming for riders and
>horses.  I own a horse farm that does classical riding (Dressage, 
>Combined Training, Jumpers) but, I do SCA and other historical costuming as 
>well.  I compete on horseback in the SCA with my full Elizabethan gowns...
  <snip>
  > I already have a gorgeous saddle---just need a beautiful 
>period bridle for my big grey warmblood.
>
>Diane
   
  Oohh, see! - although I do my dressage and 3-day with a big Thoroughbred.
   
  >
  >>On Mar 6, 2006, at 11:41 AM, Kahlara wrote:
>
> Over the years I have found that most of my creative associations seem 
> to have at least two or three similarities in other areas as well as 
> the shared interest in which we first became aquainted.
>
> I have noticed several list members make reference to horses and 
> riding. I ride and own horses also.Much snippage>
> Just a little generalizing. ;-)  
  >
  >Message: 5
>Date: Mon, 6 Mar 2006 22:42:03 +0000 (GMT)
>From: julian wilson <smnco37@yahoo.co.uk>
>Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>  Annette, Susan, and others - 
>  according to Master Rhys Terafan Greydragon, - he estimates that of 
>the entire SCA membership, possibly only 10% can actually ride, - and 
>fewer still own their own horses.

  <snip>
  
>  There must be so much specialised "Equestrian Lore" of costume, of 
>bardings, of other tacks - of which we are unaware, - it would seem 
>likely to be a subject of considerable interest to those of us who don't 
>"ride" horses in these Modern Middle Ages.  For example.......
>  The "riding side-saddle, riding astride"-debate has it's own 
>fascinations - Chaucer's illustrators clearly show the female Pilgrims riding 
>astride - but I have read comments confusing the issue, by moderns, 
>flatly stating that even during the 15th Century, all women rode 
>fully-side-saddle, or sat behind a Male servant.  
   
  Evidence supports that the side-saddle in any form at all - didn't even exist until the 15th century. And the "modern" side saddle was developed possibly as recently as the 18th century.
   
  >Did this call for divided 
>skirts? or did women wear hosen under their skirts so as to be able to ride 
>astride yet keep their modesty?
   
  <snip>
   
  Just speculation, but my thinking that women wore hosen and tucked their skirts in a proprietary manner when riding. The specific image I am thinking of - someone posted the link (of the Wife of Bath riding astride?), clearly looks as if this is the case.
   
  >>  Julian, in Old Jersey
  >
>Message: 8
>Date: Mon, 6 Mar 2006 18:27:46 -0500
>From: Susan Data-Samtak <pasovasz@aol.com>
>Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>From what I've been able to find out:  he short version of Astride vs Aside:

  <snip>
   
  > I know there are pictures of 
>females riding astride as well as sideways with their back parallel to 
>the right side of the horse and their feet at right angles to the 
>horse's left side. (Did I make this perfectly unclear?) Like sitting in 
>a chair.  Others rode sideways behind a man.  Some even had a board to 
>place their feet on.  Often the horse was led by a footman, controlling 
>the horse.  It was thought that ladies couldn't control a large beast 
>like a horse.
>
>Women also rode "palfreys"-  gaited horses, also called "ambling" 
>horses.  Supposedly, the Paso Fino Breed, (my horse is a PF) has the 
>palfrey in its background.
  <snip>
   
  I just attended a class this past weekend on questrian barding and trappings, and the instructor had information that documented ambling as the equivalent of our modern day pacing - with the horses being taught to pace in the same manner. It wasn't included in part of the hand out, so I don't have the reference information to pass on.

>
>Susan
>
  >Message: 10
>Date: Mon, 6 Mar 2006 19:47:04 -0600
>From: "Land of Oz" <landofoz@netins.net>
>Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>LADIES, on the other hand, adhered to strict rules of conduct and kept
>their legs together for propriety-------------------------
>
>I've never seen anything depicting this style of riding.  Links ?  I can see 
>where a footman would have to lead a person seated like this, as it 
>would be a little like driving a car from the backseat. This position would put 
>the woman more in the class of cargo, rather than "riding". It would be a 
>form of transportation similar to sitting in a wagon, I'm sure.
   
  There is a 17th century French "side-saddle" of this type in the Herme's collection in Paris (yes, the same as the handbag people) that can be placed on the horse either way for the rider to face either the left or right side of the horse. This sort of saddle would necessitate the horse being led by a groom or some such person.
  
>
>Which is not the same at all as riding side-saddle.  I can't speak to 
>specific time periods but I know I have read descriptions of women 
>wearing breeches or jodhpurs under a "false" skirt that looked and functioned 
>like a skirt when walking, but had a buttoned panel associated with function 
>under saddle.
   
  I would think that this would be a later period attire. The term jodphur originates in India and was brought back to Europe by the British - as I understand it. 

  <snip>
>
>I would join an equestrian clothing group!
>Denise
>
  >Message: 12
>Date: Mon, 6 Mar 2006 21:28:18 -0600
>From: "Diane Maynard" <camelothorse@earthlink.net>
>Subject: [h-cost] Equestrian costuming and other period tack

<snip>
  
>periods before this time frame did not have the "modesty" that we refer 
>to and women (and Ladies) that rode and controlled their own horse would 
>ride astride.  Women that were traveling but, did not "Ride" would travel by
>Pillion saddle.  
   
  A Pillion is a pad or cushion that attaches behind the saddle as a seat for a passenger, especially a woman.
   
  <snip>
   
  > By the 16 th century, Catherine de Medici
>began to ride "Side-Saddle" for hunting.  She actually took her husband's
>hunting saddle and threw her leg over the front horn. 
   
  <snip>  There is 
>what is considered one of Elizabeth I 's side saddles in one of the London 
>museums. Although considered quite an accomplished rider and well verse in 
>hunting, when doing a parade or any public display, Queen Elizabeth I was 
>normally being led to insure nothing could happen to endanger her. There are 
>also accounts of Queen Elizabeth I wearing her Farthingale and that they 
>were so large as to dwarf the mount she was riding.  There are numerous 
>portraits of Ladies and Queens riding astride through the 17 th century.  It is not 
>until the Victorian time frame that it becomes extremely improper for a Lady 
>to ride astride. 

  <snip>

  >In case no one can tell----I find the history of the side saddle 
>fascinating and I also ride side-saddle. >
>Diane  
  >
>Message: 11
>Date: Tue, 07 Mar 2006 19:15:38 -0600
>From: Melanie Schuessler <melanie@faucet.net>
>Subject: Re: [h-cost] Equestrian costuming and other period tack
>
>Here are a couple from the 17th century, courtesy of Web Gallery of Art:
>
>VELÁZQUEZ, Diego Rodriguez de Silva y
>Queen Isabel of Bourbon Equestrian
>1634-35
>Oil on canvas, 301 x 314 cm
>Museo del Prado, Madrid
>http://www.wga.hu/art/v/velazque/05/0506vela.jpg
>
>VELÁZQUEZ, Diego Rodriguez de Silva y
>Queen Margarita on Horseback
>1634-35
>Oil on canvas, 297 x 309 cm
>Museo del Prado, Madrid
>http://www.wga.hu/art/v/velazque/05/0503vela.jpg
>
>It's really hard for me to tell whether they're riding astride or sidesaddle, but perhaps >someone with more equestrian experience could venture.
   
  I would be interested in seeing these larger, or in person. In the first painting it is a little more difficult to tell, but in the second, it looks as if the material of the "saddle cloth" appears above and behind the woman's skirt on the horse's rear end, and possibly in both. The draping of the dress fabric over the front of the saddle also suggests the possibility of a leg hooked around a saddle horn underneath.
  
>
>Melanie Schuessler
>http://www.faucet.net/costume
>
>
>------------------------------
>Message: 9
>Date: Fri, 10 Mar 2006 20:48:06 +1100
>From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
>Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>While we're on the topic of Equestrian Costume I came across this fashion plate 
>http://www.costumes.org/history/victorian/women/fashionplates/1859septharpers.jpg 
>from 1859. I was under the impression that women didn't wear hoops or 
>skirt supports (of whatever style was fashionable at the time) when they were 
>riding (as hoops would stand out from the horse's side giving those 
>below a view straight up your skirt and bustles or paniers would get in the way 
>of you sitting on the horse), but it seems difficult to believe there 
>isn't a crinoline under that skirt.
   
  <snip>
   
  This is a fashion plate drawing, and if anything like today's fashion plate drawings shows off the garment to make it look as good as possible. In other words - not necessarily like it would look in real life. I would assume that as it was fashionable for the time however, some sort of crinoline structure would have been worn with a riding habit.
   
  As with the paintings mentioned above, artistic license can alter what we know as realistic to create a more dramatic and appealing appearance.
  
 >I'm pretty sure Victorian riding 
>habits were only worn when you planned to be actually riding, so no 
>chance of having one for show and one for actually getting on a horse.
>I'm stumped, if anybody else can offer insights I'm really curious to know.
>Elizabeth
>--------------------------------------------
>Elizabeth Walpole
>Canberra Australia
>ewalpole[at]tpg.com.au
>http://au.geocities.com/e_walpole/
>
>------------------------------
  >
  >Message: 11
>Date: Sat, 11 Mar 2006 21:55:06 -0600
>From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
>Subject: Re: [h-cost] Equestrian costuming & other period "tack"
>
>Hi Susan,
>
  >I've seen an extant 16th c. English sidesaddle (Shakespeare's 
>Birthplace Museum) so I know they existed before 1800, and it is one 
>of the oddest looking things I've seen.  
  <snip>
  >It was basically perfectly flat, oval shape on top with the pommel sticking up like a 
>monolith at the center front.  There wasn't much else too it, beside 
>a rather normal looking saddle understructure - it was like instead 
>of having a normal saddle seat they filled that area in and stuck a 
>plate on top of it.  It looked incredibly uncomfortable to sit on, 
>and I would imagine it would cut of the circulation to your legs in 
>no time at all.
   
  From what I have gleaned so far, the earliest predecessor of the modern sidesaddle had a double set of horns that stuck out of the top to the saddle and the rider wedged her leg between them. Over time the horns gradually moved to one side and into their present day configuration.
  
>
>IIRC, there is a drawing of a woman using a contraption to sit 
>sideways on a horse in Ruth Matilda Anderson's "Hispanic Costume: 
>1480 - 1530" as well.
>
>I found it interesting that Queen Elizabeth's saddle at Warwick 
>Castle is a normal "astride" saddle, if rather ornamented.
>
>Cheers,
>Danielle
>
>
>Message: 13
>Date: Sat, 11 Mar 2006 23:31:29 -0500
>From: Susan Data-Samtak <pasovasz@aol.com>
>Subject: [h-cost] equestrian site- aside or astride?
>
>Here is much info to digest.  Comments?
>
>http://ilaria.veltri.tripod.com/sidesaddle.html
   
  Wow, lots of information that I have barely had time to just skim. Thanks for sharing the link.
  
>
>Susan
>
>
  >Message: 8
>Date: Mon, 13 Mar 2006 11:31:23 -0700
>From: WickedFrau <wickedfrau@msn.com>
>Subject: [h-cost] EQ-[Fwd: Re: Historic Horse Yahoo group]-OT this
>list for other than Historic Horse Costuming discussions
>
>Hi all, for those of you who expressed an interest in an "Other Than 
>Costuming" discussion place for historical equine discussions, here is 
>an option.  I figured I would try it out.  I still intend to post my 
>costume discussions to the h-costume list, but when the topic starts to 
>diverge to more horsey things...we can go here.

  <snip>

>>
  >Message: 14
>Date: Tue, 14 Mar 2006 00:17:26 -0700
>From: WickedFrau <wickedfrau@msn.com>
>Subject: Re: [h-cost] EQ-[Fwd: Re: Historic Horse Yahoo group]-OT this
>list for other than Historic Horse Costuming discussions
>
>http://groups.yahoo.com/group/Historic_Horse/
>
>Go to the above link.  You should be able to see a "Join this Group" 
>button.  You will be taken to a page to fill out which will tell the 
>moderator of the group why you are interested.  You can reference this 
>note....
>
>If  you are new to Yahoo groups, the help screens are actually pretty 
>good:
>http://help.yahoo.com/help/groups/
>
>If you have further questions about it, feel free to contact me off - list.
>
>Sg
   
  Fun discussion! And I am looking forward to discussing non-costume related historic equestrian topics.
   
  Annette M

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Subject: Re: [h-cost] Toga trim in Gladiator..
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The only one I know of is that young boys wore the "toga praetexta" with a purple (I think) border.

Kate Bunting
Librarian and 17th century reenactor

>>> wickedfrau@msn.com 14/03/2006 13:07 >>>
I was rewatching Gladiators this weekend and wondered if there were some 
color system to the toga trims.  In some scenes there seemed to be 
groups of black trim, red and I think blue....anyone aware of any 
historical information for this?
Thanks,

Sg
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Equestrian, et al
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Quoting Kahlara <kahlara@yahoo.com>:

> I had no idea there were so many! Went to my first Ithra (SCA school) 
> this weekend, and was overjoyed to meet some like minded people 
> (costuming, horses and cooking!)
>
>  First of all, begging pardon for mentioning certain items and not 
> posting links, it becomes really awkward without opening a half dozen 
> other windows at the same time, and I usually end up closing the 
> wrong ones and losing my message. I will do a search to see if I can 
> find pictures of some of the references I mention in response.

Ah, then you need to switch to The Better Browser :-)  Use Mozilla or
Firefox (or Safari if you're on a Mac) -- they're tabbed browsers --
meaning in one browser window, you can have *many* tabs open to
different pages.  Right now, I have a tab to cnn.com, wunderground.com,
yahoo groups, my email, eBay, 2 Taxonomy web sites (dissertation
related), and Festive Attyre.  Mozilla has everything, Firefox is just
a broswer.

http://mozilla.org

Susan (down with IE!)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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References: <20060314200930.87678.qmail@web52113.mail.yahoo.com><000c01c647bb$2ff687a0$7c83fea9@CPQ21932199711><6.2.3.4.0.20060314234047.01e01eb0@127.0.0.1><6.2.3.4.0.20060315023015.01d6afa0@pop-server.mn.rr.com>
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I hate to say it, but for those of us in the US, it sounds like it would be 
better if the building did close down! =}  I'd love to see more of the 
collection digitized, and wouldn't mind seeing it on tour.

-E House 

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>>This looks like a redrawing from a painting of someone who was 
imprisoned in the Tower of London, and was painted with a cat. I 
copied these gloves for the Tower some years ago. I will look out the 
research and post as soon as I can.

Suzi 

The picture Suzi is thinking of is a portrait of Henry Wriothesley 3rd Earl of Southampton and Trixie c. 1601-03.  (Trixie is the cat.)  

Maybe some technically oriented person could set up a group blog for us so we could post pictures like this.  I have the picture but no easy way to get it out to you.

Janet
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Subject: Re: [h-cost] Glove pic
Date: Wed, 15 Mar 2006 14:16:21 +1300
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> > My first instinct was Spanish as well, due to how the hand is displayed
(the
> > hand is vertical and holding either a glove or a handkerchief) and those
> > bows (Germans weren't quite as fond of bows as the Spanish were... I
found a
> > lovely child's portrait on bildindex where she is wearing jewellery bows
> > even! Mind you the English are also fond of them....) but I have a
feeling
> > in the redrawings some features may have changed.
>
> OOOh, cool!  Do you have a URL or an accession number for that child's
> portrait?

Poot, I was wrong, they are actually daisys:
http://www.bildindex.de/bilder/fmlac10526_10b.jpg

The discussion about it was that there was a girl with bow shaped jewls but
that was actually Maria Stuart in a white gown with bows down the front made
from red jewels. I got the two mixed up in my memory;)
http://www.tudor-portraits.com/Various_7.htm
The Princess Royal, daughter of James I, VI and Anne, 1603. (National
Maritime Museum)She's all in white with the red bows. I'm sure I've seen
gold ones on someone though... but I can't find it...

michaela de bruce
http://glittersweet.com



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Subject: [h-cost] questions about 1410 costumes
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Some within my SCA group is pulling together costumes for early 1400s,
Teutonic Knights and Lithuanians.
This is not my forte' though I have become interested in the Lithuanian
side.
The Lady in charge has presented kits from her research that has piqued my
curiosity. I have sent my questions to her but wish to see if anyone has
information that she may not have as well as I have heard something
different to something she has posted.

<The basic rig that the males are going to need:

Under tunics
Hosen
Outer tunics
Fighting surcote/cyclas >

De: Shouldn't there be some underwear? And I thought that a surcote and
cyclas were two different types of outer garment.

<The under garments should be made of linen that hasn't been dyed.  The
outer garments would have been made of wool and have been of sober hues.
The fighting cotes would have been made of wool and be white or gray
depending upon your rank with a black cross again the style of cross is
determined by your rank that you have chosen.>

De: I have understood that even in this period (1410) that there were bright
colors worn, not just sober even among the lower class.

<The basic rig that the females are going to need:

Under dresses
Girl hosen  :  )
Outer dress
Aprons
Head coverings

*Aprons? Did every woman in 1410, in Lithuania and Samogitia wear headgear?

<The under garments need to be of linen that hasn't been dyed.   The outer
dress needs to be of sober hues and doesn't have any unnecessary adornments.
They also can't be of a temptuous nature  :  )
So no side less surcotes I'm afraid.  Your basic tunic dress will be fine
here.

De: Again, sober hues, Is my understanding of colors in this period wrong?
The "Any unnecessary adornments" has me a bit confused but hopefully she
will cite her source for me to better understanding. I think that this may
be for the Teutonic side only.

Thank you whatever information you are able to give.
De


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Subject: [h-cost] speaking of underwear...
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I just came across an interesting image in my files:
http://www.formfunction.org/temp/1445-50austrianmedea7.jpg
15th century thong, anyone?

It's amazing how you can suddenly notice something glaringly obvious even 
though you've looked at an image several times before without seeing 
anything unusual!

-E House 

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Subject: [h-cost] OT:  self employment tax question
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Hi, all,

May I ask where the 15% increase comes in?  The 7.65% Social 
Security/Medicare employee portion has already been withheld from her 
paycheck, so that will not make a difference in her net pay.  (Except for 
possible Medical FSA plans/pre tax insurance reductions and the like) There 
is the employer portion of 7.65% which will now be payable by her and will 
be an increase in taxes paid.  Is there a new or different tax that my 
husband and I may have missed and not paid????   (yikes!!!)

Or am I assuming incorrectly that she's not trying to match her hourly wage 
after tax?

Anxiously awaiting an answer,

Nancy MM  :)





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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Theatre Museum update (3rd try)
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At 13:47 15/03/2006, you wrote:
>I hate to say it, but for those of us in the US, it sounds like it 
>would be better if the building did close down! =}  I'd love to see 
>more of the collection digitized, and wouldn't mind seeing it on tour.
>
>-E House


You don't have to shut a museum to digitize its collection, or to 
tour some of its artifacts - look at the V and A, the Museum of 
London, Platt Hall, Manchester and many others. The museum has 
thousands of artifacts, far more than they could ever tour, and if 
they go into store they will never be seen again. That is one of the 
problems. And then there will be no possibility of anything being 
digitized, because once everything is stored, that will be it. We 
have seen this happen to other museum collections in England.

Suzi


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Glove pic
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Quoting michaela <thebruce@ihug.co.nz>:

>> > My first instinct was Spanish as well, due to how the hand is displayed
> (the
>> > hand is vertical and holding either a glove or a handkerchief) and those
>> > bows (Germans weren't quite as fond of bows as the Spanish were... I
> found a
>> > lovely child's portrait on bildindex where she is wearing jewellery bows
>> > even! Mind you the English are also fond of them....) but I have a
> feeling
>> > in the redrawings some features may have changed.
>>
>> OOOh, cool!  Do you have a URL or an accession number for that child's
>> portrait?
>
> Poot, I was wrong, they are actually daisys:
> http://www.bildindex.de/bilder/fmlac10526_10b.jpg

Neat picture, though.

>
> The discussion about it was that there was a girl with bow shaped jewls but
> that was actually Maria Stuart in a white gown with bows down the front made
> from red jewels. I got the two mixed up in my memory;)
> http://www.tudor-portraits.com/Various_7.htm
> The Princess Royal, daughter of James I, VI and Anne, 1603. (National
> Maritime Museum)She's all in white with the red bows. I'm sure I've seen
> gold ones on someone though... but I can't find it...
>
>
Also neat!  Those could be bows, or flowers, or butterflies, or .....

Susan (sorry, the biologist is creeping out .....)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: [h-cost] Re: equestrian/side saddles and riding habits
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Ah, we already have Mozilla/Firefox. I see that I am just going to have to get more familiarized with it.
   
  This isn't the saddle I mentioned, but is very similar and chair like.
  http://users.tinyworld.co.uk/sidesaddlelady/Side-facing%20saddle%20detail.html
   
  And a predecessor of the modern with the 'horns' more near the pommel.
  http://users.tinyworld.co.uk/sidesaddlelady/1799%20side-saddle%20detail.html
   
  Her website also has some information on riding habits.
  http://users.tinyworld.co.uk/sidesaddlelady/Exhibits%20-%20riding%20habits.html
   
  I particularly like this one. It would be interesting to find more information on the 'riding corset' she mentions.
  http://users.tinyworld.co.uk/sidesaddlelady/1896%20French%20Riding%20Habit%20made%20up.html
   
  And patterns! http://users.tinyworld.co.uk/sidesaddlelady/Catalogue%20-%20dressmaking%20patterns.html

Annette M (with the techno computer geek FI who adds 'cool' stuff to my computer while I am busy elsewhere)

Message: 9
Date: Wed, 15 Mar 2006 13:36:15 -0500
From: "Susan B. Farmer" 
Subject: Re: [h-cost] Equestrian, et al

Quoting Kahlara :

> I had no idea there were so many! Went to my first Ithra (SCA school) 
> this weekend, and was overjoyed to meet some like minded people 
> (costuming, horses and cooking!)
>
> First of all, begging pardon for mentioning certain items and not 
> posting links, it becomes really awkward without opening a half dozen 
> other windows at the same time, and I usually end up closing the 
> wrong ones and losing my message. I will do a search to see if I can 
> find pictures of some of the references I mention in response.

Ah, then you need to switch to The Better Browser :-) Use Mozilla or
Firefox (or Safari if you're on a Mac) -- they're tabbed browsers --
meaning in one browser window, you can have *many* tabs open to
different pages. Right now, I have a tab to cnn.com, wunderground.com,
yahoo groups, my email, eBay, 2 Taxonomy web sites (dissertation
related), and Festive Attyre. Mozilla has everything, Firefox is just
a broswer.

http://mozilla.org

Susan (down with IE!)
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/

		
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Just incredible.  Thanks for the pictures.
           -Helen/Aidan


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From: "E House" <formfunc@formfunction.org>
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Subject: Re: [h-cost] Theatre Museum update (3rd try)
Date: Wed, 15 Mar 2006 14:48:09 -0600
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I agree, but it seems more likely that they will feel the need to digitize 
under the circumstances they outlined; they already have it in mind as an 
option.  I'd like the museum to stay open AND to send items out on tour & 
digitize them, but if it's going to be an either/or situation, then I'd 
rather have them available to me than in a country I'll never visit. 
Pragmatic!

-E House 

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Subject: [h-cost] period dye color references
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In reference roughly to 12th - 14th centuries. I have been eyeing a lovely piece of magenta wool. My herbal book says this color can be attained using dandelion - the whole plant with no mordant.
   
  1. are there any historical references for this color? I know that dandelion flowers produce a yellow dye.
   
  2. no mordant implies that it would not be color fast.
   
  3. are there any historical references to a magenta like color being produced with some other dye stuff?
   
  Or any suggestions where I might look for more information?
   
   
  Annette M (the fuschia/magenta/hot pink range is my favorite color for clothing!)

		
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] period dye color references
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At 21:20 15/03/2006, you wrote:
>In reference roughly to 12th - 14th centuries. I have been eyeing a 
>lovely piece of magenta wool. My herbal book says this color can be 
>attained using dandelion - the whole plant with no mordant.
>
>   1. are there any historical references for this color? I know 
> that dandelion flowers produce a yellow dye.
>
>   2. no mordant implies that it would not be color fast.
>
>   3. are there any historical references to a magenta like color 
> being produced with some other dye stuff?
>
>   Or any suggestions where I might look for more information?
>
>
>   Annette M (the fuschia/magenta/hot pink range is my favorite 
> color for clothing!)


I always thought that magenta was named after a battle in the 
Napoleonic wars but I could be way wrong!

Suzi


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Subject: Re: [h-cost] finished belt pouch
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How beautiful!

Thanks for sharing.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 15, 2006, at 11:10 AM, E House wrote:

> ----- Original Message ----- From: "Bjarne og Leif Drews" 
> <drewscph@post12.tele.dk>
>> Well i dont actually know the excact name of this type of metal 
>> thread. I baught this from Silke Anette in Denmark, who carries all 
>> the hard to find things here. Its not hollow inside, but i cauched it 
>> on with red sewing silk.
>
> Ah well--it looks very nice!
>
> -E House
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THANKS!  I bookmarked these.

2 riding corsets are shown on the pattern page.  the corset must be a 
bit more flexible for riding movements.  Also need to be shorter in 
front so the right leg can be placed correctly over the upper pommel.  
I made a very nice corset in a class, but it is too long to ride in.  I 
just have to make a shorter version!

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour
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Ooh! I was just reading about this! The Roman hippodrome had four stables which each had a different color associated with it: red, green, blue, and white. They were like different teams, so maybe the filmmakers assumed people would have dressed in their teams' colors just like modern sports fans (and I wouldn't be surprised if they were right). Those four colors were also associated with the four political factions that served as labor unions/guilds/political machines for the city of Rome, and later Constantinople, so alternatively, they could have been implying that those people were supporters of those factions. I haven't found out yet if the stables were associated with the factions, but in Constantinople, the emperor Justinian was nearly overthrown by an alliance of the four factions at the end of a chariot race in the hippodrome, which seems to have been used by the factions to whip the crowd into a suitably revolutionary frenzy.
 
I hope this helps!
 
Tea Rose
-----------------------

Date: Tue, 14 Mar 2006 06:07:04 -0700
From: WickedFrau <wickedfrau@msn.com>
Subject: [h-cost] Toga trim in Gladiator..

I was rewatching Gladiators this weekend and wondered if there were some 
color system to the toga trims.  In some scenes there seemed to be 
groups of black trim, red and I think blue....anyone aware of any 
historical information for this?
Thanks,

Sg
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Subject: Re: [h-cost] OT:  self employment tax question
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Sorry; I was giving the percentage that applied to me; no one is withholding 
anything in my case, so I have to withhold it all myself!   That or list it 
all under 'other income', which works well if there are no deductions worth 
the trouble and if I don't care about social security, which I don't.  As 
you illustrate, the percentage will vary depending on the specific 
situation, and I am not qualified in any way to give tax advice.

-E House, libertarian in MO 

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Date: Thu, 16 Mar 2006 00:15:30 +0000
From: rwfranz <rwfranz@hotpop.com>
Subject: Re: [h-cost] OT:  self employment tax question
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Go look at Schedule SE for the form 1040 - 
http://www.irs.gov/pub/irs-pdf/f1040sse.pdf.

The thing is, that the amount she is paid will change, but she has to 
pay her own taxes on it; most companies don't withhold on 1099s, as the 
consultant/contractor is responsible for that. In addition, changing 
from employed to self-employed imposes an accounting burden on the 
contractor. 1040ES forms will be due, and there may be minimum 
percentages (as someone else has commented; the percentage may increase 
from 10% to 28% just because of self-employment).

Because the amount paid goes up, the Adjusted Gross Income goes up, even 
though the amount that's added in to compensate for SE is coming out on 
Sched SE, it still raises the AGI (go ahead. Try it. If you made 20000 
employed, and 21530 self-employed (that 7.65%), your income tax amount 
rises by a chunk, leaving you with less), before the SE taxes come out 
again (they're not deductible, for some reason). So you need to 
compensate for that, too; if you don't, you lose money going to 
self-employment.

I trust that's clear as mud.

One good thing to do is get some tax software and figure out what's 
going to happen and how much you need to break even. It's not just a 
simple "add 7.65%" - would that it were.

There's a reason so many CPAs have lucrative tax businesses.

Roger

Nancy Millis-MacHaffie wrote:

> Hi, all,
>
> May I ask where the 15% increase comes in?  The 7.65% Social 
> Security/Medicare employee portion has already been withheld from her 
> paycheck, so that will not make a difference in her net pay.  (Except 
> for possible Medical FSA plans/pre tax insurance reductions and the 
> like) There is the employer portion of 7.65% which will now be payable 
> by her and will be an increase in taxes paid.  Is there a new or 
> different tax that my husband and I may have missed and not paid????   
> (yikes!!!)
>
> Or am I assuming incorrectly that she's not trying to match her hourly 
> wage after tax?
>
> Anxiously awaiting an answer,
>
> Nancy MM  :)
>
>
>
>
>
> _______________________________________________
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Thank you Roger,
I understood that perfectly.  Thank you for your clear explanation.

Hugs,

Nancy MM

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] questions about 1410 costumes
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No one else has responded to this, so I'll step in and take an uninformed
stab -- this is not my geographic area, but it is my time period.

On Tue, 14 Mar 2006, otsisto wrote:

> Some within my SCA group is pulling together costumes for early 1400s,
> Teutonic Knights and Lithuanians.

Thank goodness for Wikipedia:

<<The Battle of Grunwald or Battle of Tannenberg took place on July 15,
1410 between the Kingdom of Poland, the Grand Duchy of Lithuania and their
allies on one side, and the Knights of the Teutonic Order on the other. It
was the decisive battle of the Polish-Lithuanian-Teutonic War (1409-1411)
and the greatest battle of medieval Europe.>>

I had never heard of this "greatest battle." Now I gather you must be
doing an event based on it?

> <The basic rig that the males are going to need:
> 
> Under tunics
> Hosen
> Outer tunics
> Fighting surcote/cyclas >
> 
> De: Shouldn't there be some underwear? 

Since she then describes the "undertunic" as being undyed linen, it sounds
like she's using that term for the underwear (which would be a white linen
shirt/tunic), and "outer tunic" for the main body garment.

> And I thought that a surcote and cyclas were two different types of
> outer garment.

"Surcote" is a general term used for just about any overlayer that goes
over the main body garment. "Cyclas" is one of those screwy costume terms
that's used in umpteen different ways, but it always seems to mean an
overtunic/surcote.

> <The under garments should be made of linen that hasn't been dyed.  The
> outer garments would have been made of wool and have been of sober hues.
> The fighting cotes would have been made of wool and be white or gray
> depending upon your rank with a black cross again the style of cross is
> determined by your rank that you have chosen.>
> 
> De: I have understood that even in this period (1410) that there were
> bright colors worn, not just sober even among the lower class.

Many period dyes make strong/deep colors, and these would have been
preferred. Perhaps there was something specific to the Teutonic knights
that required sober hues? The black cross on white surcote seems to have
been their "uniform."

> <The basic rig that the females are going to need:
> 
> Under dresses
> Girl hosen  :  )
> Outer dress
> Aprons
> Head coverings
> 
> *Aprons? 

Aprons were known in Western Europe at this time, for working women;
whether they were an essential part of the outfit in Eastern Europe I'll
leave to someone who knows this area better.

> Did every woman in 1410, in Lithuania and Samogitia wear headgear?

Essentially every woman in Western Europe at this time would have been
expected to wear a headcovering as a norm (exceptions being queens, young
girls, brides, and even those not all the time). I wouldn't be at all
surprised if headcoverings were the default for Eastern European women,
and they certainly will make the overall look more "period."

> <The under garments need to be of linen that hasn't been dyed.   The outer
> dress needs to be of sober hues and doesn't have any unnecessary adornments.
> They also can't be of a temptuous nature  :  )
> So no side less surcotes I'm afraid.  Your basic tunic dress will be fine
> here.

Since she's calling for an underdress that sounds like a chemise, and an
outerdress over that that sounds like a main body garment, a sideless
surcote would have been a third layer -- and very unlikely to be worn by
any but the very highest classes (e.g. royalty) in 1410 anyway, so that's
not an issue. 

The main dress (worn over the chemise, with or without a third layer over
it) would very likely have had some degree of shaping/fitting, esp.
set-in-sleeves, rather than being a plain "tunic dress," but the latter
would certainly be acceptable for those who are not experienced in sewing
in this period.

> De: Again, sober hues, Is my understanding of colors in this period wrong?

Depends what you call "sober." Certainly the cheapest dyes were blues and
browns, but madder red was quite accessible.

--Robin


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Glove pic
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Quoting JAMES OGILVIE <bear_janet@MSN.COM>:

>>> This looks like a redrawing from a painting of someone who was
> imprisoned in the Tower of London, and was painted with a cat. I
> copied these gloves for the Tower some years ago. I will look out the
> research and post as soon as I can.
>
> Suzi
>
> The picture Suzi is thinking of is a portrait of Henry Wriothesley 
> 3rd Earl of Southampton and Trixie c. 1601-03.  (Trixie is the cat.)
>
> Maybe some technically oriented person could set up a group blog for 
> us so we could post pictures like this.  I have the picture but no 
> easy way to get it out to you.

I don't have the time to set up a Real Web Page, but I can hang it off
my server.

What about the account for The Christmas Exchange pictures?

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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What is issue 230? Whad' I miss?
Kahlara wrote:

>  
>  It has been a busy week, but finally able to get back to the costume list. Am I the only one that did not recieve issue 230?
>   
>  Attended a class on equestrian barding this weekend, and one of the things that came up in discussion was the aside vs. astride issue.
> 
>

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Thank you for responding.
I have learned to take Wikipedia with a grain of salt.
On one of the lists someone mentioned that he had found flaws with it as
anyone can leave info on a subject. Be it w/scholarly research or not.
They are doing it for Lilies War but I am not sure if it is for a war point
or not.

Since she then describes the "undertunic" as being undyed linen, it sounds
like she's using that term for the underwear (which would be a white linen
shirt/tunic), and "outer tunic" for the main body garment.

De: I was thinking more in the line of groin cover type of underwear. :)
Were the leg hosen sewn together by this time?

"Surcote" is a general term used for just about any overlayer that goes over
the main body garment. "Cyclas" is one of those screwy costume terms that's
used in umpteen different ways, but it always seems to mean an
overtunic/surcote.

De: Ah, the clear as mud terminology. :)

> <The under garments should be made of linen that hasn't been dyed.  The
> outer garments would have been made of wool and have been of sober hues.
Many period dyes make strong/deep colors, and these would have been
preferred. Perhaps there was something specific to the Teutonic knights
that required sober hues? The black cross on white surcote seems to have
been their "uniform."

De: I mostly was wondering about the regular male folk and not the knights.

<Essentially every woman in Western Europe at this time would have been
expected to wear a headcovering as a norm (exceptions being queens, young
girls, brides, and even those not all the time). I wouldn't be at all
surprised if headcoverings were the default for Eastern European women, and
they certainly will make the overall look more "period."

De: "Paganism" was still around in Lithuania and Samogitia so I do not think
that covering the head was for religious reasons but I could see it as a
scalp protector from the sun.

<Since she's calling for an underdress that sounds like a chemise, and an
outerdress over that that sounds like a main body garment, a sideless
surcote would have been a third layer -- and very unlikely to be worn by
any but the very highest classes (e.g. royalty) in 1410 anyway, so that's
not an issue.

The main dress (worn over the chemise, with or without a third layer over
it) would very likely have had some degree of shaping/fitting, esp.
set-in-sleeves, rather than being a plain "tunic dress," but the latter
would certainly be acceptable for those who are not experienced in sewing
in this period.

Depends what you call "sober." Certainly the cheapest dyes were blues and
browns, but madder red was quite accessible.

--Robin
De: I had thought that it was 3 layers. Chemise and a support under dress
and then the form fitting dress. Is this not the standard?
What I can find of the Lithuanians and Samogitians is that red is the
favored color.
Thank you for the information.
I am waiting on her reply so that I can learn more.


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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: re: [h-cost] Help with contract work fees
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>I just got word that my position as Historic Costume Designer at
>Strawbery Banke had been reorganized out of existence, and I'm looking
>at the 14 shifts and probably 14 girls gowns that need to be made for
>this summers camp.  I've heard that I might me asked to make them on a
>contract basis, so here is my question.  What would be a reasonable
>amount to charge for making these garments, if I should be asked?

>Dot Fisher

I would charge by the hour regardless of the task you are assigned. 
This way, the Banke can continue to work you for any task they deem
necessary.  What to charge? Take your annual salary and divide by 2000
hrs (40hr week, 50 weeks in a year) and charge that as your hourly
rate. This should work in pounds, euros & dollars.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] Help with contract work fees
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In a message dated 3/15/2006 8:52:20 P.M. Eastern Standard Time,  
cinbarnes@gmail.com writes:

What to  charge? Take your annual salary and divide by 2000
hrs (40hr week, 50 weeks  in a year) and charge that as your hourly
rate. 


I would add the 7.65% that you will have to pay in social security taxes to  
that figure, at the least.  And if you will now be using your own  equipment, 
rather than theirs, well, that is worth something, too.
 
Ann Wass
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Subject: Re: [h-cost] Help with contract work fees
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An odd little rule of thumb I read that actually seems to work for SOME 
industries (I have experience with it specifically in computer-related 
stuff, as that's where I've done the most self-employed work) is to take 
your desired yearly income, divide that by 1000, and charge that per hour. 
So, if you want to make $40,000/year, charge $40/hr for contract work.  This 
works well in a situation where you're working out of a home office, and 
where there's some but not tons of overhead, and where you likely won't be 
working 40 hours a week on a regular basis.  So, it may be a completely 
useless rule of thumb in your situation, but if you wind up being expected 
to pay for a lot of your own supplies/equipment/etc, it might help to give 
you at least a ballpark. I'd still get out the tax forms and receipts for 
common recurring expenses and spend some quality time with a calculator, 
though. =}

-E House 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] period dye color references
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>  1. are there any historical references for this color? I know that 
> dandelion flowers produce a yellow dye.

 	I don't know about dandelions but you can get magenta and fuschia 
from fermented lichen dyes.

>  2. no mordant implies that it would not be color fast.

 	I've done a tiny bit of experimenting and even though I got some 
vibrant shades, they were _extremely_ fugitive to light.  My wool and silk 
samples that were exposed to even indirect sunlight faded to gray within 
two weeks.  The samples that were kept in the dark are still bright, 
though.

>  3. are there any historical references to a magenta like color being 
> produced with some other dye stuff?

 	Yes, orchil producing lichens and murex shellfish (Tyrian purple).

>  Or any suggestions where I might look for more information?

 	A book or website on lichen dyes/orchil should have something. 
I'm away from my books but I think one of them is Craft of the Dyer, 
Colour from Plants and Lichens by Casselman(sp?).
One website is
http://www.ravensgard.org/gerekr/Orchil.html .  She has a picture with 
color samples.

--annora
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I believe magenta was one of the aniline dyes invented in the later 19th century and was named after a battle in Napoleon III's reign - but I assume the poster was referring to a natural colour approaching that shade.
 
>>> suzi@suziclarke.co.uk 15/03/2006 21:49 >>>

I always thought that magenta was named after a battle in the 
Napoleonic wars but I could be way wrong!

Suzi


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Subject: Re: [h-cost] Glove pic
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I can only think of Rembrandt's portrait of Jan Six. http://www.artchive.com/artchive/R/rembrandt/jan_six.jpg.html has links to 2 articles which discuss the significance of the gloves in this picture.

Kate Bunting
Librarian and 17th century reenactor

>>> zeartiste@hotmail.com 15/03/2006 12:48 >>>
What is the reason that several Dutch portraits have the person wearing one 
glove and holding the other? Most of them are on the right hand but the one 
of Valois one is on the left.
If nothing else, I've been introduced to the massive amounts of portraits 
from the references in this discussion board.

>
>
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Subject: Re: [h-cost] Glove pic
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The bows looks to me to be made of coral pearls?

Bjarne

----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 15, 2006 8:44 PM
Subject: Re: [h-cost] Glove pic


> Quoting michaela <thebruce@ihug.co.nz>:
>
>>> > My first instinct was Spanish as well, due to how the hand is 
>>> > displayed
>> (the
>>> > hand is vertical and holding either a glove or a handkerchief) and 
>>> > those
>>> > bows (Germans weren't quite as fond of bows as the Spanish were... I
>> found a
>>> > lovely child's portrait on bildindex where she is wearing jewellery 
>>> > bows
>>> > even! Mind you the English are also fond of them....) but I have a
>> feeling
>>> > in the redrawings some features may have changed.
>>>
>>> OOOh, cool!  Do you have a URL or an accession number for that child's
>>> portrait?
>>
>> Poot, I was wrong, they are actually daisys:
>> http://www.bildindex.de/bilder/fmlac10526_10b.jpg
>
> Neat picture, though.
>
>>
>> The discussion about it was that there was a girl with bow shaped jewls 
>> but
>> that was actually Maria Stuart in a white gown with bows down the front 
>> made
>> from red jewels. I got the two mixed up in my memory;)
>> http://www.tudor-portraits.com/Various_7.htm
>> The Princess Royal, daughter of James I, VI and Anne, 1603. (National
>> Maritime Museum)She's all in white with the red bows. I'm sure I've seen
>> gold ones on someone though... but I can't find it...
>>
>>
> Also neat!  Those could be bows, or flowers, or butterflies, or .....
>
> Susan (sorry, the biologist is creeping out .....)
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
>
>
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>>De: I have understood that even in this period (1410) that there were
>>bright colors worn, not just sober even among the lower class.
> 
> Robin Netherton wrote:
> Many period dyes make strong/deep colors, and these would have been
> preferred. Perhaps there was something specific to the Teutonic knights
> that required sober hues? The black cross on white surcote seems to have
> been their "uniform."

Not my period of expertise either, but it could be that the organizer is 
trying for an easy way to make sure that people in the group avoid the 
bright modern colors that are not possible (or that are possible but 
very fugitive) with medieval dyes.

Melanie Schuessler
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I finally received a reply. She said that the sober colors come from a 1295
manuscript on the Teutonic knights attire and thought that anyone working or
being around the Knights would also wear sober colors.
De



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Date: Thu, 16 Mar 2006 08:19:49 -0800 (PST)
From: Kahlara <kahlara@yahoo.com>
Subject: Re:  [h-cost] Issue 230? Equestrian, et al
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:-)  As in h-costume Digest Vol 5, Issue 230, similar to issue 255, which I didn't get either. I know this is just a glitch in the system, as sometimes I miss one, or they come out of order, for example I may still get 255 it will just arrive after 256 (the one I'm responding to). Usually I just bear with it, but sometimes, as with 230, when there is a topic I am particularly interested in or am waiting on a response to a question, as with 255. I might miss something and end up repeating/restating the same thing someone else has already said (and probably much worse than they did) or missing out on a really great answer.
   
  Annette M

h-costume-request@indra.com wrote:
  ------------------------------

Message: 2
Date: Wed, 15 Mar 2006 18:22:49 -0700
From: WickedFrau 
Subject: EQ-Re: [h-cost] Issue 230? Equestrian, et al

What is issue 230? Whad' I miss?
Kahlara wrote:

> 
> It has been a busy week, but finally able to get back to the costume list. Am I the only one that did not recieve issue 230?
> 
> Attended a class on equestrian barding this weekend, and one of the things that came up in discussion was the aside vs. astride issue.
> 

		
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Subject: [h-cost] Fwd: Theatre Museum
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I received the following letter in reply to my e-mail to the 
director. I think it makes the whole situation quite clear.



>Thank you for your email to the Director.
>
>The press coverage is misleading, because the Trustees of the V&A have
>not yet made a decision.
>
>One option is to close the building, but others would include a
>different mix of activities in the building.
>
>The Theatre Museum has had no success in raising the capital money for
>redevelopment of its current premises (which it rents, not owns)  and
>the feedback from potential public and private donors is that the funds
>needed to transform the Theatre Museum's building in Covent Garden
>would not repay the investment given the limitations of the building.
>
>Given the serious limitations of the building we are looking at the
>feasibility of achieving greater appreciation of the collections without
>continuing with the building.
>
>If we had no Covent Garden building we would be looking at:
>
>1.  having a permanent display about the collections at the main
>building in South Kensington
>
>2.  running education programmes in our new Education Centre
>
>3.   large and smaller scale exhibitions at the main museum building
>
>4.   more touring exhibitions (in the UK and abroad)
>
>5.   more partnerships with major theatre organisations in the UK
>
>6.   Much greater investment in digitising the collection and providing
>web access and education material.  Visits to the Theatre Museum website
>have been growing rapidly.
>
>It is worth remembering that the displays at Covent Garden represent a
>very tiny fraction of the collections.  The core study collection moved
>in 2005 to Blythe House (our storage and research centre in west london)
>where it was united with the reserve collection - This move has been
>very successful and the study room there provides much better access.
>
>Interestingly, most of the emails we have had so far are mainly
>concerned about the preservation of the archives and we are also very
>concerned to increase access (eg. through extended opening hours at
>Blythe House and greater web access to the collections).
>
>
>
>Ian Blatchford
>Deputy Director
>
>
>Suzi
>
>----------------------------------------------------------------
>
>Anna Piaggi Fashion-ology
>Sponsored by Topshop
>2 Feb ? 23 April 2006 at V&A South Kensington
>Book now on 0870 906 3883 or www.vam.ac.uk
>
>Unleashing Britain: 10 Years that Shaped the Nation 1955-1964
>30 November 2005 ? 30 June 2007 at V&A Theatre Museum
>Admission free
>
>V&A Museum of Childhood temporarily closed for exciting redevelopment
>Reopening autumn 2006. See the V&A website for details
>
>Keep in touch ? visit www.vam.ac.uk and sign up for our regular e-newsletter
>
>-----------------------------------------------------------------
>
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>communication in error, please notify us by telephone on 020 7942 
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>MailControl - www.blackspider.com


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Subject: [h-cost] Re:Glove pic
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> I keep thinking I've seen this glove before, but I
> have seen similar 
> ones in the portrait of Lady Mary Neville and her
> Son Gregory 
> Fiennes, 10th Baron Dacre (1559) 

I had looked at this one too, but couldn't get a close
enough look at it, till I tripped on this site:
http://www.employees.org/~cathy/gloves_body.html

LINEN gloves?!? Cool!! If I only had the time to
construct a pair, I could let the intended wearer
loose on the gauntlets - she is an avid blackwork
broiderer. also look at figure 5 on this page, that is
a darned close match if you rotate the hand to
vertical.

> Elizabeth Cornwallis, Lady Kytson (1573)

> them....) but I have a feeling
> in the redrawings some features may have changed.

Looking at your examples and those above, I think this
could be a composite drawing of various elements.
Excellent sources, though. I think this is why this
drawing rang bells - it's a little of everything.
 
> It's very easy to show the glove style in German
> dress, very easy indeed.

This would be good, since it is being paired with the
Nuremburg kirtle and loose gown in PoF. :-)

> That is very sheek! :-)
Thanks. I liked them the moment I saw that drawing.
:-)I was originally going to do goldworked gauntlets,
but the more I took into account the style of the
intended wearer, I felt this was more her pace.

> I would recomend you to use silk ribbon of the kind
> used for ribbon work, 

That is exactly what I plan on using. I purchased some
white vintage kid gloves and will tack on the wrist
decoration with russet and olive ribbons. I currently
have it in a garment weight leather, but....it's
coming off rather heavy looking and totally
overpowering the delicacy of the kid and the silk
ribbons. I have also lined the leather with an
orange/red shot silk to make the slashes pop. It looks
good, but again, I need to lighten the leather up. I
have some paper thin sueded leather in white that
might work. I'm just reluctant to cut into it as it
had other plans to be corset binding. I'll see what I
can come up with. I wonder if I could just do it with
some white taffeta and the silk ribbons instead? That
would match the sheen of the kid and the delicacy of
the decoration. hmmmm....Must go rummaging for scraps!

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Subject: Re: [h-cost] starching
Date: Tue, 14 Mar 2006 23:49:44 -0500
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My mom was visiting me recently and showed me some tricks for starching 
fancy doilies that might help.  She said use Stayflo liquid starch, blue 
bottle.  Make sure to cut the starch in half with water.  Soak the fabric or 
doilies in the solution. I pinned the doilies to a foam core board with 
T-pins.  This stretched it out really nice.  For up and down ruffles, stuff 
with wax paper.  Let it dry for 24 hours.  You will be amazed at how the 
shape is in the fabric/doilies.  One of the doilies that had a lot of fancy 
ruffles is still standing perfectly after three months.  I can pick it up 
and shake the dust off it, and it keeps its shape.  And it still looks so 
delicate.

Its worth a try!  BTW, the Stayflo comes out of the bottle blue, but when 
the starch dries it is clear.  She said that this is how her mother starched 
doilies.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
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Subject: [h-cost] Update on Theatre Museum
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I received the following from the Deputy Director of the V and A 
regarding the Theatre Museum.


"Thank you for your email to the Director.

The press coverage is misleading, because the Trustees of the V&A have
not yet made a decision.

One option is to close the building, but others would include a
different mix of activities in the building.

The Theatre Museum has had no success in raising the capital money for
redevelopment of its current premises (which it rents, not owns)  and
the feedback from potential public and private donors is that the funds
needed to transform the Theatre Museum's building in Covent Garden
would not repay the investment given the limitations of the building.

Given the serious limitations of the building we are looking at the
feasibility of achieving greater appreciation of the collections without
continuing with the building.

If we had no Covent Garden building we would be looking at:

1.  having a permanent display about the collections at the main
building in South Kensington

2.  running education programmes in our new Education Centre

3.   large and smaller scale exhibitions at the main museum building

4.   more touring exhibitions (in the UK and abroad)

5.   more partnerships with major theatre organisations in the UK

6.   Much greater investment in digitising the collection and providing
web access and education material.  Visits to the Theatre Museum website
have been growing rapidly.

It is worth remembering that the displays at Covent Garden represent a
very tiny fraction of the collections.  The core study collection moved
in 2005 to Blythe House (our storage and research centre in west london)
where it was united with the reserve collection - This move has been
very successful and the study room there provides much better access.

Interestingly, most of the emails we have had so far are mainly
concerned about the preservation of the archives and we are also very
concerned to increase access (eg. through extended opening hours at
Blythe House and greater web access to the collections).



Ian Blatchford
Deputy Director"

Suzi


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There's a larger image here:
http://www.tudor-portraits.com/HenryWriothesley.jpg

-E House
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And a handsome tuxedo cat it is too!

Lalah, Never give up, Never surrender

--- dannw@mn.rr.com wrote:

From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
To: Historical Costume <h-costume@indra.com>
Cc:
Subject: Re: [h-cost] Glove pic
Date: Wed, 15 Mar 2006 02:38:00 -0600

Ah ha, Suzi, you've got it!  It is Henry Wriothesley, the third Earl 
of Southampton.  You can find his portrait in the portrait section of 
the  http://www.boughtonhouse.org.uk/ page or I think this will take 
you directly there:
http://www.boughtonhouse.org.uk/htm/gallery2/paintings/earlofsoton.htm
An interesting piece of trivia about this portrait...it is supposedly 
the first English portrait painted with a cat in it.

Cheers,
Danielle

At 05:42 PM 3/14/2006, you wrote:
>At 23:01 14/03/2006, you wrote:
>>That is very sheek! :-)
>>What would you use for the small bows?
>>I would recomend you to use silk ribbon of the kind used for ribbon 
>>work, its so soft and delicate and would make very nice bows.
>>
>>Bjarne
>>
>>----- Original Message ----- From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
>>To: "Historical Costume List" <h-costume@mail.indra.com>
>>Sent: Tuesday, March 14, 2006 9:09 PM
>>Subject: [h-cost] Glove pic
>>
>>
>>>Okay, I have everything fixed. This is the drawing I
>>>was talking about:
>>>
>>>http://ca.geocities.com/absynthe30/avatars/hand.jpg
>>>
>>>Look familiar to anyone?
>
>
>This looks like a redrawing from a painting of someone who was 
>imprisoned in the Tower of London, and was painted with a cat. I 
>copied these gloves for the Tower some years ago. I will look out 
>the research and post as soon as I can.
>
>Suzi

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Subject: Re: [h-cost] finished belt pouch
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At 06:25 AM 3/15/2006, you wrote:
>Hi,
>With permission of the commisioner, i have posted pics of the 
>finished medieval belt pouch with lion rampants at:
>http://www.my-drewscostumes.dk/beltpouch.htm
>Bjarne

Nice job, as usual, Bjarne.


Joan Jurancich
joanmj@surewest.net 

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In a message dated 3/15/2006 2:29:22 P.M. Eastern Standard Time,  
n.mm@gte.net writes:

May I  ask where the 15% increase comes in?  The 7.65% Social  
Security/Medicare employee portion has already been withheld from her  
paycheck, so that will not make a difference in her net  pay.


You are correct; however, it can be different when someone else withholds  it 
and when YOU have to make the payments quarterly.  One has to be sure to  
have that money in the bank when those quarterly payments come due.
 
Ann Wass
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On Wed, 15 Mar 2006, Kahlara wrote:

> In reference roughly to 12th - 14th centuries. I have been eyeing a lovely piece of magenta wool. My herbal book says this color can be attained using dandelion - the whole plant with no mordant.
>
>  1. are there any historical references for this color? I know that dandelion flowers produce a yellow dye.
>
>  2. no mordant implies that it would not be color fast.
>
>  3. are there any historical references to a magenta like color being produced with some other dye stuff?
>
>  Or any suggestions where I might look for more information?
>
>
>  Annette M (the fuschia/magenta/hot pink range is my favorite color for clothing!)

Your herbal book is perpetuating a fallacy.

We were discussing this on the natural dyes list (or the SCA natural dyes 
list, I don't remember which) and the general consensus from a number 
of people who've tried it was that there's no way to get magenta from 
dandelions.

You can get lovely pinks and reds from brazilwood, from kermes/cochineal, 
from madder root if you're careful (if you overcook it, it turns 
brown/orange), from orchil, and from lady's bedstraw root. But you can't, 
as far as any of the more experienced dyers could tell, get reds from 
dandelion root.

OTOH, it apparently can be roasted and used as a coffee substitute.

I've gotten magenta on wool with cochineal, but I'm not sure how fast it 
is, or whether it was a modern mordant or not--my sample cards are at 
home, of course. I know we got a dark magenta color on white Icelandic 
fleece by leaving it in the dyebath for a very long time, but lighter 
colors I think were mordanted. I'll look when I get a chance.

Pixel/Margaret
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Subject: Re: [h-cost] OT:  self employment tax question
Date: Wed, 15 Mar 2006 19:41:19 -0800
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Some general principles to keep in mind on this.  The organization is  
trying to cut costs and increase flexibility.  (This is a truism:   
companies are always trying to cut costs and increase flexibility.)   
When you're calculating how much to ask for, add up _all_ the ways in  
which the organization was spending money on your position:  not  
simply salary and social-security payments, but any benefits you  
received (large or small), plus the clerical work that supported your  
employment, the upkeep on any equipment used, and so forth.  For  
example, a lot of people are mentioning the self-employment tax, but  
as an independent contractor you're also going to be spending _time_  
doing extra paperwork (and quite likely, extra research) to deal with  
legal and tax things you didn't have to worry about as an employee.   
So do the calculation from the other side, too: calculate what it  
will "cost" you (in time or money) to cover all the benefits,  
overhead, upkeep, and paperwork that you didn't have to deal with as  
an employee.

No matter _what_ they pay you as a contractor's fee, they've already  
"won" in terms of flexibility -- i.e., they can decide at a moment's  
notice not to give you any more work.  They can pay for exactly and  
only the work they decide they want without having to keep you on  
payroll when things are slow.  And that means it's not at all  
unreasonable to expect them to pay for that flexibility in cash.  So  
don't feel you're being greedy by setting a high price on your time.   
In fact, try not to spend much time comparing what you're asking for  
as a contractor with what you were receiving as a salary:  it's  
apples and oranges.

This, of course, assumes that they see what you're providing as a  
specialized skill, rather than figuring they can either get someone  
to do piecework at sweatshop wages or pull the Tom Sawyer trick and  
convince someone to do it "for fun".

Heather
--
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heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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On Mar 15, 2006, at 4:41 AM, Gail & Scott Finke wrote:

>> In latin: (for those who don't trust translations :-)
>> Femoralia hi qui in via diriguntur de vestario
>> accipiant, quae revertentes lota ibi restituant. Et
>> cucullae et tunicae sint aliquanto a solio quas habent
>> modice meliores; quas exeuntes in via accipiant de
>> vestario et revertentes restituant.
>>
>> And in English:
>> Brothers going on a journey should get underclothing
>> from the wardrobe. On their return they are to wash it
>> and give it back. Their cowls and tunics, too, ought
>> to be somewhat better than those they ordinarily wear.
>> Let them get these from the wardrobe before departing,
>> and on returning put them back.
>
> Wow! And I thought "Wear clean underwear without holes in case you  
> get in a
> car crash and have to go to the hospital" was a NEW sensibility!

There's an even better example in Walter Map's "De Nugis Curialium"  
where he tells a story of a monk whose order disdained underpants as  
being too luxurious, so that when he took a tumble in the street he  
exposed his ... parts for all and sundry to see.  Walter gives the  
moral of the story as something roughly equivalent to "sometimes  
discretion is the better part of asceticism".

Heather
--
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heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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> > Poot, I was wrong, they are actually daisys:
> > http://www.bildindex.de/bilder/fmlac10526_10b.jpg
>
> Neat picture, though.

I love flowers:)

> > http://www.tudor-portraits.com/Various_7.htm
> > The Princess Royal, daughter of James I, VI and Anne, 1603. (National
> > Maritime Museum)She's all in white with the red bows. I'm sure I've seen
> > gold ones on someone though... but I can't find it...

> Also neat!  Those could be bows, or flowers, or butterflies, or .....

Atcually I have seen the book this was scanned from (I recongise a lot of
the pictures shown on the site from a couple of books I've got my paws on)
and they were definitely not butterflies;) The centre is too button like. I
don't think they are flowers either, seeing as here are four loops and
flowers tend towards prime numbers for petals. Given the four lobed bows on
the glove portrait I'd be more inclined to see these as bows.

I'm not sure how pbvious it is in the online image, but in my copy you can
see they alternating centres are quite different. The pearls are just pearls
with no obvious mountings and the "balck" are set in gold, like the red
jewels are in the lobes.

It also looks like there are pearls going up the centre, graduating in size
from large to small. She has a pearl girdle with red and "black" stones. The
skirt has a line down centre front that could be a crease or a join. I think
the top edge of her bodice is just at the tops of the jewels, and there is a
wide expanse of cmock I think... there looks like faint red  lines of
embroidery


micahela
http://glittersweet.com



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On Wed, 15 Mar 2006, otsisto wrote:

> I have learned to take Wikipedia with a grain of salt. On one of the
> lists someone mentioned that he had found flaws with it as anyone can
> leave info on a subject. Be it w/scholarly research or not.

Oh, of course, it's not a reliable source for formal research, as it is
constantly mutable and relies on the collective wisdom of its users. But
very good for quick overviews of things like historical events, scientific
principles, natural history, lots of other stuff. In this case, it
answered the question "what did the Teutonic Knights and the Lithuanians
have to do with each other in 1410?" sufficiently for my purposes, which
was "They had a battle." Whether it was the greatest battle of the middle
ages -- well, that's where the opinion creeps in, and I don't put much
stock into that assessment.

> Since she then describes the "undertunic" as being undyed linen, it
> sounds like she's using that term for the underwear (which would be a
> white linen shirt/tunic), and "outer tunic" for the main body garment.
> 
> De: I was thinking more in the line of groin cover type of underwear.
> :)

>From what I know of SCA-level re-enactment, costume guidelines like this
are generally going to leave unseen underwear as a personal choice, and
90% of the guys are going to wear modern boxers or briefs anyway,
depending on their preference. (Um, no, I haven't actually done research
to support that 90%...)

Now, for strict re-enactment, the costume guidelines are more likely to
want to specify the nature of the braies or other underthings worn at the
particular time at issue, and the participants are going to want to have
it right even if no one ever knows.

> Were the leg hosen sewn together by this time?

No idea what was happening in Eastern Europe; I don't even know exactly
when they started getting sewn together in the West. There are others on
this list who have made a study of these details. But my impression is
that there's no need to sew together your leg hosen unless you're wearing
a tunic short enough to show your crotch, and in 1410 that's dependent on
class, age, and region. Fashionable young men in Paris are not
representative of Teutonic knights or Lithuanian anythings.

> > <The under garments should be made of linen that hasn't been dyed.  The
> > outer garments would have been made of wool and have been of sober hues.
> Many period dyes make strong/deep colors, and these would have been
> preferred. Perhaps there was something specific to the Teutonic knights
> that required sober hues? The black cross on white surcote seems to have
> been their "uniform."
> 
> De: I mostly was wondering about the regular male folk and not the
> knights.

And I'm wondering what "sober" means. ;-)

> <Essentially every woman in Western Europe at this time would have
> been expected to wear a headcovering as a norm (exceptions being
> queens, young girls, brides, and even those not all the time). I
> wouldn't be at all surprised if headcoverings were the default for
> Eastern European women, and they certainly will make the overall look
> more "period."
> 
> De: "Paganism" was still around in Lithuania and Samogitia so I do not
> think that covering the head was for religious reasons but I could see
> it as a scalp protector from the sun.

I wouldn't think religious reasons are the prime mover in any case.
Headcoverings have been the norm for both men and women in Europe for most
of the Middle Ages and a good chunk beyond. There are many reasons for it,
and sun protection is just one. Bear in mind that women might have visible
hair in 1410, but it is generally *dressed* -- e.g. braided and/or put up,
with or without veil or ornament -- not hanging loose. If you are outside,
you want a covering against sun and also dirt.

> De: I had thought that it was 3 layers. Chemise and a support under
> dress and then the form fitting dress. Is this not the standard?

Number of layers and degree of fitting varies by class, climate, and
circumstances (e.g. formal or informal).

The basic standard is chemise (undyed linen) plus main body garment
(usually of wool) -- call it an underdress or a day-dress or cote or cotte
or kirtle or whatever your preferred expert likes (but don't call it a
"cotehardie" if you're around me, please). This dress, in 1410, is
typically fitted for middle-class and upper-class women, probably not very
fitted for the lowest classes (unless you're modeling for the Limbourg
Brothers). By this period, it seems it is
probably lined more often than not, even for those of modest means.

Higher class and/or cooler weather and/or more formal circumstances, add a
layer or more. The overgown may be fitted (as in the "cotehardie" or
fitted overdress) or loose (as in the houppelande) or any of several
variations/combinations on these. Next over that might be a mantle or
cloak, again with variations depending on class etc.

All of this is generally true for most of Europe in 1410, and very likely
for Lithuania, or possibly there are regional variations I don't know
about.

--Robin



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Subject: Re: bows and flowers Re: [h-cost] Glove pic
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Quoting michaela <thebruce@ihug.co.nz>:

> Jerusha said
>> Also neat!  Those could be bows, or flowers, or butterflies, or .....


> Atcually I have seen the book this was scanned from (I recongise a lot of
> the pictures shown on the site from a couple of books I've got my paws on)
> and they were definitely not butterflies;) The centre is too button like. I
> don't think they are flowers either, seeing as here are four loops and
> flowers tend towards prime numbers for petals. Given the four lobed bows on
> the glove portrait I'd be more inclined to see these as bows.

botanist alert!
While monocots have floral parts in 3s or multiples thereof (think
lilies -- 6 parts), Dicots have floral parts in 4s or 5s typically (or
multiples thereof.  Families that I can think of at the moment that are
mostly 4-parted flowers include the Mustard Family, the Olive family,
The Hamamelids (Witch Hazel), the Cornaceae (Dogwoods), the Evening
Primroses, and the Plantains.  Nature's never exact -- my Monocot study
plants have Asian members with 5 petals, or 7, or 11 ...
botanist mode off

>
> I'm not sure how pbvious it is in the online image, but in my copy you can
> see they alternating centres are quite different. The pearls are just pearls
> with no obvious mountings and the "balck" are set in gold, like the red
> jewels are in the lobes.

I wasn't saying that they weren't bows, just the overall shape *could*
lend itself to other things as well -- like butterflies, flowers, etc.

Jerusha
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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>In reference roughly to 12th - 14th centuries. I have been eyeing a
lovely piece of >magenta wool. My herbal book says this color can be
attained using dandelion - >the whole plant with no mordant.

> 1. are there any historical references for this color? I know that dandelion flowers produce a yellow dye.

 >2. no mordant implies that it would not be color fast.

> 3. are there any historical references to a magenta like color being produced with some other dye stuff?

 >Or any suggestions where I might look for more information?

On natural dyestuffs see "The Art & Craft of Natural Dyeing" Jim
Liles. He's a Rev War re-enactor & teaches/taught Chem at some
southern University (U of Tenn?).  You wont find history here, but you
will find good process & technique.  His photo on the back book cover
has him in a snappy magenta (called Turkey Red) tunic.

Your perception is most likely correct.  I'd go with a mordant, too.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Greetings--
>   
>>> <The under garments should be made of linen that hasn't been dyed.  The
>>> outer garments would have been made of wool and have been of sober hues.
>>>       
>> Many period dyes make strong/deep colors, and these would have been
>> preferred. Perhaps there was something specific to the Teutonic knights
>> that required sober hues? The black cross on white surcote seems to have
>> been their "uniform."
>>
>> De: I mostly was wondering about the regular male folk and not the
>> knights.
>>     
>
> And I'm wondering what "sober" means. ;-)
The missing link here may be that the Teutonic Knights, like the 
Templars and the Hospitallers, were a crusading Order--a religious 
Order.  The "uniform" mentioned earlier on was in fact part of the habit 
of the Knights who were part of the Order.  There were also priests who 
were members of the Order, and later, "serving brothers".  According to 
this site - http://www.chivalricorders.org/vatican/teutonic.htm  - the 
main difference between the dress of the knights and the serving 
brothers was that the knights wore a blue mantle and the serving 
brothers a grey one, and the serving brothers used a three-armed cross. 

So the whole "sober colour" thing may be indicative of the fact that 
these are fighting religious under holy vows with a set habit (although 
it's known that the knights in other similar orders didn't wear the 
habit on all occasions, although they were supposed to do so).  

Susan


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Ladies & Gents,
A quick question, I'm copying the doublet worn by the dashing gent in
Caravaggio's "The Fortune Teller" now in the Louvre.  Both my copy &
the original are mustard gold velvet with the chocolate brown racing
stripes and those huge balloon sleeves.  At the cuff, which cant be
seen well in my Louvre catalog, is the closure on the outside if the
wrist, inside of the wrist or no closure at all? Is there a lapped
vent as in 18th c manswear or is it just abutted as in the 16th c
menswear.
Norah Waugh doesnt go into this detail.
Thanks for the help,
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From h-costume-bounces@indra.com  Thu Mar 16 14:54:38 2006
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My husband is early period, around 1196-1220 time frame.  I'm looking for
period references for clothing for a middle class, or nobility (other than
monarchs) from that era.  While I have found MANY references to the armor
and surcoats they wore, I haven't found a lot of references to everyday
clothing.  Can someone point me in the right direction for that time period?

Gwenhwyfar

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Subject: Re: [h-cost] 17th c doublet cuff closure
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> Ladies & Gents,
> A quick question, I'm copying the doublet worn by the dashing gent in
> Caravaggio's "The Fortune Teller" now in the Louvre.  Both my copy &
> the original are mustard gold velvet with the chocolate brown racing
> stripes and those huge balloon sleeves.  At the cuff, which cant be
> seen well in my Louvre catalog, is the closure on the outside if the
> wrist, inside of the wrist or no closure at all? Is there a lapped
> vent as in 18th c manswear or is it just abutted as in the 16th c
> menswear.
> Norah Waugh doesnt go into this detail.
> Thanks for the help,
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com

Most of the doublets I've seen seem to be a sort of cross between the two: 
the closure laps, but it's not quite the fully developed vent of the later 
coats.  It's pretty hard to explain, but easy to do and seems to work well.

Melusine 

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Hi Cynthia,
Abraham Bossé the fashion illustrator has made a print of La Gallerie du 
Pallais showing ready made cuffs and collars exhibitted in a gallanterie 
shop. The Cuffs are open, and i believe they were pinned in place.

Bjarne

----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Thursday, March 16, 2006 8:42 PM
Subject: [h-cost] 17th c doublet cuff closure


> Ladies & Gents,
> A quick question, I'm copying the doublet worn by the dashing gent in
> Caravaggio's "The Fortune Teller" now in the Louvre.  Both my copy &
> the original are mustard gold velvet with the chocolate brown racing
> stripes and those huge balloon sleeves.  At the cuff, which cant be
> seen well in my Louvre catalog, is the closure on the outside if the
> wrist, inside of the wrist or no closure at all? Is there a lapped
> vent as in 18th c manswear or is it just abutted as in the 16th c
> menswear.
> Norah Waugh doesnt go into this detail.
> Thanks for the help,
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: [h-cost] "Great Coat"
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Dear List,
I'm reading a diary of a young woman in Virginia in 1787, and she uses the  
term "great coat" for an article of clothing.  It is clear from the context  
that this is NOT the many-caped, overcoat type garment.  I know that "coat"  
could refer to a petticoat, but any ideas as to this particular usage?
 
Thanks.
 
Ann Wass
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Subject: [h-cost] semi-OT: waiting for books
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Has anyone order and actually received either of these two books?

"Material Culture in London in an Age of Transititon: Tudor and Stuart Period Finds c. 1450-c. 1700 from Excavations at Riverside Sites in Southwark" by Geoff Egan
ISBN: 190199239X

"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
ISBN: ?

The Geoff Egan book was pre-ordered in early December (back when it was on sale through Amazon for ~$20 instead of $36!); their site says it's been available since Jan 28 and ships in 2-4 weeks; it's been over 6 weeks and nothing.  I'm getting impatient for my Christmas present, already!  I'm trying to decide if there's any point in contacting Amazon about it--if others have pre-ordered it and not gotten it, I'll try to be patient. 

I'm definitely jumping the gun on the second; it's not 'late' unlike the first, as their website says it should hit the shops in mid-March, but I want to play with it. =}

-E House 
(Patience is a virtue?  Really?  Are you suuuuuuuuuure?)
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On Thu, 16 Mar 2006, gwen@moonsandstars.com wrote:

> My husband is early period, around 1196-1220 time frame.  I'm looking for
> period references for clothing for a middle class, or nobility (other than
> monarchs) from that era.  While I have found MANY references to the armor
> and surcoats they wore, I haven't found a lot of references to everyday
> clothing.  Can someone point me in the right direction for that time period?
>
> Gwenhwyfar

You're going to encourage us to get that website up yet. ;-)

To preface, my SO and I do early 13th c. English (in the SCA, but we're 
authenticity nuts).

A middle-class man would wear braies, hose, a shirt, a belted 
tunic/cotte, some variety of leather turnshoe, and most probably a linen 
coif on his head. A nobleman would wear the same, except not necessarily 
the coif, and he might also wear another layer over his cotte.

One of the things that distinguishes a nobleman in the early 13th c. is 
the length of his skirts--a man who works for a living, whether he be free 
or serf, wears a short cotte that may or may not be slit at the crotch. 
It's usually about knee-length when belted up. A nobleman's cotte is long, 
about ankle length, and slit to the crotch (ostensibly for riding).

The sherte and braies are linen, the cotte is usually wool. From my 
research, a nobleman's cotte would also be lined with either linen or 
silk. The hose are also usually wool.

[A moment of pedantry:
"Early period" usually refers to Migration Age, what used to be called the 
Dark Ages. 1200 is considered (roughly) to be the end of the Romanesque 
era and the beginning of early Gothic at least as far as art history types 
are concerned.]

Marc Carlson's website, to which I do not have the URL handy, has useful 
info on actual garments. Heather Rose Jones has an excellent article on 
the St. Louis shirt, which is as far as we know a 13th c. man's shirt: 
http://www.heatherrosejones.com/stlouisshirt/index.html
There's www.thirteenthcentury.com for info on hose and braies.

Nudge me privately and I'll see about getting the most recent info packet 
into an electronic form and possibly up where people can actually see it.

Margaret
(for whom it is 1205 until Saturday)
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By the way, I've noticed a lot of my posts coming through waaaay out of order--apologies to anyone who's gotten confused by the seeming non-sequitors!

-E House
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] semi-OT: waiting for books
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I ordered the Tudor Tailor. Still waiting on it. They said "March 2006" 
and it is still March...

E House wrote:

>Has anyone order and actually received either of these two books?
>
>  
>
>"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
>ISBN: ?
>
>  
>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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	<000501c64939$3d349ea0$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] 17th c doublet cuff closure
Date: Thu, 16 Mar 2006 21:54:40 +0100
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Brilliant notice of mine.
Sorry, i thoaght it was the cuffs you were asking about, not the 
sleaves...............

Bjarne
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 16, 2006 9:36 PM
Subject: Re: [h-cost] 17th c doublet cuff closure


> Hi Cynthia,
> Abraham Bossé the fashion illustrator has made a print of La Gallerie du 
> Pallais showing ready made cuffs and collars exhibitted in a gallanterie 
> shop. The Cuffs are open, and i believe they were pinned in place.
>
> Bjarne
>
> ----- Original Message ----- 
> From: "Cin" <cinbarnes@gmail.com>
> To: "h-cost" <h-costume@indra.com>
> Sent: Thursday, March 16, 2006 8:42 PM
> Subject: [h-cost] 17th c doublet cuff closure
>
>
>> Ladies & Gents,
>> A quick question, I'm copying the doublet worn by the dashing gent in
>> Caravaggio's "The Fortune Teller" now in the Louvre.  Both my copy &
>> the original are mustard gold velvet with the chocolate brown racing
>> stripes and those huge balloon sleeves.  At the cuff, which cant be
>> seen well in my Louvre catalog, is the closure on the outside if the
>> wrist, inside of the wrist or no closure at all? Is there a lapped
>> vent as in 18th c manswear or is it just abutted as in the 16th c
>> menswear.
>> Norah Waugh doesnt go into this detail.
>> Thanks for the help,
>> --cin
>> Cynthia Barnes
>> CinBarnes@gmail.com
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> _______________________________________________
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> 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <be.39b429a1.314b26de@aol.com>
Subject: Re: [h-cost] "Great Coat"
Date: Thu, 16 Mar 2006 21:57:06 +0100
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Dear Ann Was,
Greatcoat is just a term of a winter used garment, worn outside of the 
jacket. It could be cut just like a jacket, but would be a little bigger, so 
that the jacket could be inside it.

Bjarne
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 16, 2006 9:38 PM
Subject: [h-cost] "Great Coat"


> Dear List,
> I'm reading a diary of a young woman in Virginia in 1787, and she uses the
> term "great coat" for an article of clothing.  It is clear from the 
> context
> that this is NOT the many-caped, overcoat type garment.  I know that 
> "coat"
> could refer to a petticoat, but any ideas as to this particular usage?
>
> Thanks.
>
> Ann Wass
> _______________________________________________
> 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] "Great Coat"
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In a message dated 3/16/2006 3:39:51 P.M. Eastern Standard Time,  
AnnBWass@aol.com writes:

Dear  List,
I'm reading a diary of a young woman in Virginia in 1787, and she  uses the  
term "great coat" for an article of clothing.  It is  clear from the context  
that this is NOT the many-caped, overcoat  type garment.  I know that "coat"  
could refer to a petticoat,  but any ideas as to this particular usage?



********************************
 
Maybe she just thinks her coat is...great. "That's a great coat!"
 
 
I know....I'm no help at all....
 
Perhaps it just means the outer most coat, or a long coat....whether it has  
multiple capes,or is even heavy wool, or no. Perhaps a long light coat for  
fall or spring or riding or traveling. "Great" referring to its  length.
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] semi-OT: waiting for books
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On Thu, 16 Mar 2006, E House wrote:

> Has anyone order and actually received either of these two books?
> 
> "Material Culture in London in an Age of Transititon: Tudor and Stuart
> Period Finds c. 1450-c. 1700 from Excavations at Riverside Sites in
> Southwark" by Geoff Egan ISBN: 190199239X

This is out. Our reviewer already has her copy. I don't know when orders
were shipped to purchasers, but if you ordered through an intermediary, it
may take longer.

--Robin

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <be.39b429a1.314b26de@aol.com>
Subject: Re: [h-cost] "Great Coat"
Date: Thu, 16 Mar 2006 22:06:20 +0100
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When Struensee, a german doctor was excecuted in Copenhagen, the newspapers 
wrote that he wore a "Viltskur" wich is the danish name of a greatcoat made 
of fur. His fur coat was made of wolf. It was angle lenght and had a big 
collar attached to it according to the print they published of the episode. 
The german doctor had first his right hand cut off, then his head. He had an 
affair with our queen.

Bjarne
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 16, 2006 9:38 PM
Subject: [h-cost] "Great Coat"


> Dear List,
> I'm reading a diary of a young woman in Virginia in 1787, and she uses the
> term "great coat" for an article of clothing.  It is clear from the 
> context
> that this is NOT the many-caped, overcoat type garment.  I know that 
> "coat"
> could refer to a petticoat, but any ideas as to this particular usage?
>
> Thanks.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] semi-OT: waiting for books
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At 12:41 PM 3/16/2006, you wrote:
>Has anyone order and actually received either of these two books?
>
>"Material Culture in London in an Age of Transititon: Tudor and 
>Stuart Period Finds c. 1450-c. 1700 from Excavations at Riverside 
>Sites in Southwark" by Geoff Egan
>ISBN: 190199239X
>
>"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
>ISBN: ?
>
>The Geoff Egan book was pre-ordered in early December (back when it 
>was on sale through Amazon for ~$20 instead of $36!); their site 
>says it's been available since Jan 28 and ships in 2-4 weeks; it's 
>been over 6 weeks and nothing.  I'm getting impatient for my 
>Christmas present, already!  I'm trying to decide if there's any 
>point in contacting Amazon about it--if others have pre-ordered it 
>and not gotten it, I'll try to be patient.
>
>I'm definitely jumping the gun on the second; it's not 'late' unlike 
>the first, as their website says it should hit the shops in 
>mid-March, but I want to play with it. =}
>
>-E House
>(Patience is a virtue?  Really?  Are you suuuuuuuuuure?)

I ordered "The Tudor Tailor" and I'm eagerly awaiting its delivery.


Joan Jurancich
joanmj@surewest.net 

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E House wrote:
> Has anyone order and actually received either of these two books?
> 
> "Material Culture in London in an Age of Transititon: Tudor and Stuart Period Finds c. 1450-c. 1700 from Excavations at Riverside Sites in Southwark" by Geoff Egan
> ISBN: 190199239X

Yes.

> 
> "The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
> ISBN: ?

No.

> 
> The Geoff Egan book was pre-ordered in early December (back when it was on sale through Amazon for ~$20 instead of $36!); their site says it's been available since Jan 28 and ships in 2-4 weeks; it's been over 6 weeks and nothing.  I'm getting impatient for my Christmas present, already!  

I'm trying to decide if there's any point in contacting Amazon about it

When you log into Amazon you can go to a "Your Account" page, where you 
can look at all your orders and see the exact status of each one.

Fran
Lavolta Press
http://www.lavoltapress.com
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Subject: Re: [h-cost] semi-OT: waiting for books
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Boydell & Brewer (David Brown Co., in the US) had it out last month.

Arlys

On Thu, 16 Mar 2006 15:32:17 -0600 (CST) Robin Netherton
<robin@shell.nightowl.net> writes:
> 
> On Thu, 16 Mar 2006, E House wrote:
> 
> > Has anyone order and actually received either of these two books?
> > 
> > "Material Culture in London in an Age of Transititon: Tudor and 
> Stuart
> > Period Finds c. 1450-c. 1700 from Excavations at Riverside Sites 
> in
> > Southwark" by Geoff Egan ISBN: 190199239X
> 
> This is out. Our reviewer already has her copy. I don't know when 
> orders
> were shipped to purchasers, but if you ordered through an 
> intermediary, it
> may take longer.
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Date: Thu, 16 Mar 2006 13:28:42 -0800
From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] 17th c doublet cuff closure
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>> Caravaggio's "The Fortune Teller" now in the Louvre.  Both my
>>copy & the original are mustard gold velvet with the chocolate
 >>brown racing stripes and those huge balloon sleeves.  At the
>>cuff, which cant be seen well in my Louvre catalog, is the closure
>>on the outside if the wrist, inside of the wrist or no closure at
all? >>Is there a lapped vent as in 18th c manswear or is it just
abutted
 >>as in the 16th c menswear.
>Most of the doublets I've seen seem to be a sort of cross between the two:
>the closure laps, but it's not quite the fully developed vent of the later
>coats.  It's pretty hard to explain, but easy to do and seems to work well.
>Melusine

>Abraham Bossé the fashion illustrator has made a print of La Gallerie du
>Pallais showing ready made cuffs and collars exhibitted in a gallanterie
>shop. The Cuffs are open, and i believe they were pinned in place.
>Bjarne

Thanks to you both for speedy replies!  I'll search for M Bossé's
illustrations. Can either of you show me a picture or point me to a
extant doublet, book,  painting or drawing?  Naomi Tarrant doesnt show
it, either tho she goes into great detail about other parts of 1630s
construction.  Grrrr.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: "Onaree Berard" <msberard@gmail.com>
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Could you give the url to David Brown Co for those of us in the US?

Onaree

On 3/16/06, Cynthia J Ley <cley@juno.com> wrote:
> Boydell & Brewer (David Brown Co., in the US) had it out last month.
>
> Arlys



--
Proud List Mom of Irish_Crochet_Lovers
http://groups.yahoo.com/group/Irish_Crochet_Lovers/

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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
> When you log into Amazon you can go to a "Your Account" page, where you 
> can look at all your orders and see the exact status of each one.

The problem is that someone else ordered it for me. =}  I _think_ she's 
checked that, but I'll make sure.

-E House 

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Subject: Re: [h-cost] semi-OT: waiting for books
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Considering it's almost impossible to get hold of a live person at 
Amazon, the "Your Account" page is probably your only recourse.  Note 
that these days if you choose the free shipping option, Amazon often 
holds the entire order until _all_ items are available, which can be 
weeks or even a couple of months.

I'm not worrying about my order for the _Tudor Tailor_, and wouldn't 
until around mid April at the very least. First they have to get the 
books from the printer--March is not over yet--then yours has to get to 
you, presumably via media mail.  In fact I seldom worry about these 
things at all--nagging someone is not going to get either their book 
printer or media mail to hurry up.

Fran
Lavolta Press
http://www.lavoltapress.com


E House wrote:

> ----- Original Message ----- From: "Lavolta Press" <fran@lavoltapress.com>
> 
>> When you log into Amazon you can go to a "Your Account" page, where 
>> you can look at all your orders and see the exact status of each one.
> 
> 
> The problem is that someone else ordered it for me. =}  I _think_ she's 
> checked that, but I'll make sure.
> 
> -E House
> _______________________________________________
> 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] semi-OT: waiting for books
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On Thu, 16 Mar 2006, Cynthia J Ley wrote:

> Boydell & Brewer (David Brown Co., in the US) had it out last month.

David Brown is the US branch of the UK's Oxbow booksellers; it is not the
same as the publisher Boydell & Brewer, though Brown/Oxbow sells many of
Boydell's books (including mine).

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: semi-OT: waiting for books
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On Thu, 16 Mar 2006, Onaree Berard wrote:

> Could you give the url to David Brown Co for those of us in the US?

http://www.oxbowbooks.com/home.cfm

You'll get a screen asking you whether you want the US or UK site (and
pricing).

The Egan book is here:
http://www.oxbowbooks.com/bookinfo.cfm/ID/44480

--Robin

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From: Kahlara <kahlara@yahoo.com>
Subject: Re: [h-cost] Glove pic
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Wow, that is an awesome painting! I've forgotten how fabulous the old masters, especially Rembrandt were. Most of the time when folks post a painting for reference I just look at the article of clothing or details that are being referenced, but this one just knocked my socks off as a work of art. And I love the outfit. If I can't get my FI interested in having one, I might just have to make something like it for myself! :-)
   
  Annette M

h-costume-request@indra.com wrote:
  Message: 1
Date: Thu, 16 Mar 2006 09:29:26 +0000
From: "Kate M Bunting" 
Subject: Re: [h-cost] Glove pic

I can only think of Rembrandt's portrait of Jan Six. http://www.artchive.com/artchive/R/rembrandt/jan_six.jpg.html has links to 2 articles which discuss the significance of the gloves in this picture.

Kate Bunting
Librarian and 17th century reenactor

>>> zeartiste@hotmail.com 15/03/2006 12:48 >>>
What is the reason that several Dutch portraits have the person wearing one 
glove and holding the other? Most of them are on the right hand but the one 
of Valois one is on the left.
If nothing else, I've been introduced to the massive amounts of portraits 
from the references in this discussion board.
		
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From h-costume-bounces@indra.com  Thu Mar 16 17:50:49 2006
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References: <edcaf0220603161328w1152484ak3a7a4acdc889870c@mail.gmail.com>
Subject: Re: [h-cost] 17th c doublet cuff closure
Date: Thu, 16 Mar 2006 23:50:51 +0100
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Hi Cin,
The print i talk about is in the italian fashion history book by Mila 
Contini, if you would like, i can scan the print for you and send you by 
email.
I am not sertan about what you want, a book about doublets? If there was on 
i would surely like to know :-)
The cut of mens clothes has a doublet from the time!

Bjarne
----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Thursday, March 16, 2006 10:28 PM
Subject: Re: [h-cost] 17th c doublet cuff closure


>>> Caravaggio's "The Fortune Teller" now in the Louvre.  Both my
>>>copy & the original are mustard gold velvet with the chocolate
> >>brown racing stripes and those huge balloon sleeves.  At the
>>>cuff, which cant be seen well in my Louvre catalog, is the closure
>>>on the outside if the wrist, inside of the wrist or no closure at
> all? >>Is there a lapped vent as in 18th c manswear or is it just
> abutted
> >>as in the 16th c menswear.
>>Most of the doublets I've seen seem to be a sort of cross between the two:
>>the closure laps, but it's not quite the fully developed vent of the later
>>coats.  It's pretty hard to explain, but easy to do and seems to work 
>>well.
>>Melusine
>
>>Abraham Bossé the fashion illustrator has made a print of La Gallerie du
>>Pallais showing ready made cuffs and collars exhibitted in a gallanterie
>>shop. The Cuffs are open, and i believe they were pinned in place.
>>Bjarne
>
> Thanks to you both for speedy replies!  I'll search for M Bossé's
> illustrations. Can either of you show me a picture or point me to a
> extant doublet, book,  painting or drawing?  Naomi Tarrant doesnt show
> it, either tho she goes into great detail about other parts of 1630s
> construction.  Grrrr.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
>
> _______________________________________________
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> 


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] semi-OT: waiting for books
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At 20:49 16/03/2006, you wrote:

>I ordered the Tudor Tailor. Still waiting on it. They said "March 
>2006" and it is still March...
>
>E House wrote:
>
>>Has anyone order and actually received either of these two books?
>>
>>
>>
>>"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
>>ISBN: ?


Ninya Mikhaila has only just received her own copy of the book. They 
will be shipped as soon as the rest arrive.

Suzi


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Date: Thu, 16 Mar 2006 23:28:33 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 5, Issue 250
References: <200603141900.k2EJ0GbG043948@net.indra.com>
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I believe the word "factio" originally referred to the chariot-racing 
teams, and then the supporters of each team banded together for social 
welfare etc, and the modern meaning of "faction" as a political grouping 
grew out of that.

Jean


tearoses@aol.com wrote
>Ooh! I was just reading about this! The Roman hippodrome had four 
>stables which each had a different color associated with it: red, 
>green, blue, and white. They were like different teams, so maybe the 
>filmmakers assumed people would have dressed in their teams' colors 
>just like modern sports fans (and I wouldn't be surprised if they were 
>right). Those four colors were also associated with the four political 
>factions that served as labor unions/guilds/political machines for the 
>city of Rome, and later Constantinople, so alternatively, they could 
>have been implying that those people were supporters of those factions. 
>I haven't found out yet if the stables were associated with the 
>factions, but in Constantinople, the emperor Justinian was nearly 
>overthrown by an alliance of the four factions at the end of a chariot 
>race in the hippodrome, which seems to have been used by the factions 
>to whip the crowd into a suitably revolutionary frenzy.
>
>I hope this helps!
>
>Tea Rose
>-----------------------
>
>Date: Tue, 14 Mar 2006 06:07:04 -0700
>From: WickedFrau <wickedfrau@msn.com>
>Subject: [h-cost] Toga trim in Gladiator..
>
>I was rewatching Gladiators this weekend and wondered if there were some
>color system to the toga trims.  In some scenes there seemed to be
>groups of black trim, red and I think blue....anyone aware of any
>historical information for this?
>Thanks,
>
>Sg
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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-- 
Jean Waddie
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Subject: [h-cost] Re: h-cost] semi-OT: waiting for books
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I ordered "Material culture in London in an age of transition: Tudor and 
Stuart period finds c. 1450 - c. 1700 from Excavations at Riverside sites 
in Southwark" by Geoff Egan on 10/18/05 from DBBC

"The Tutor Tailor" is due out in April. I ordered mine 1/30/06 directly 
from the author.

I have not received either as yet.
Beth

At 03:06 PM 3/16/2006, you wrote:
>Date: Thu, 16 Mar 2006 14:41:28 -0600
>From: "E House" <formfunc@formfunction.org>
>
>Has anyone order and actually received either of these two books?
>
>"Material Culture in London in an Age of Transititon: Tudor and Stuart 
>Period Finds c. 1450-c. 1700 from Excavations at Riverside Sites in 
>Southwark" by Geoff Egan
>ISBN: 190199239X
>
>"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
>ISBN: ?
>
>The Geoff Egan book was pre-ordered in early December (back when it was on 
>sale through Amazon for ~$20 instead of $36!); their site says it's been 
>available since Jan 28 and ships in 2-4 weeks; it's been over 6 weeks and 
>nothing.  I'm getting impatient for my Christmas present, already!  I'm 
>trying to decide if there's any point in contacting Amazon about it--if 
>others have pre-ordered it and not gotten it, I'll try to be patient.
>
>I'm definitely jumping the gun on the second; it's not 'late' unlike the 
>first, as their website says it should hit the shops in mid-March, but I 
>want to play with it. =}
>
>-E House

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Subject: RE: [h-cost] semi-OT: waiting for books
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I ordered "Tudor Tailor" and have not received it yet.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of E House
Sent: Thursday, March 16, 2006 12:41 PM
To: h-costume@indra.com
Subject: [h-cost] semi-OT: waiting for books


Has anyone order and actually received either of these two books?

"Material Culture in London in an Age of Transititon: Tudor and Stuart
Period Finds c. 1450-c. 1700 from Excavations at Riverside Sites in
Southwark" by Geoff Egan
ISBN: 190199239X

"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
ISBN: ?

The Geoff Egan book was pre-ordered in early December (back when it was on
sale through Amazon for ~$20 instead of $36!); their site says it's been
available since Jan 28 and ships in 2-4 weeks; it's been over 6 weeks and
nothing.  I'm getting impatient for my Christmas present, already!  I'm
trying to decide if there's any point in contacting Amazon about it--if
others have pre-ordered it and not gotten it, I'll try to be patient. 

I'm definitely jumping the gun on the second; it's not 'late' unlike the
first, as their website says it should hit the shops in mid-March, but I
want to play with it. =}

-E House 
(Patience is a virtue?  Really?  Are you suuuuuuuuuure?)
_______________________________________________
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] semi-OT: waiting for books
Date: Thu, 16 Mar 2006 19:08:11 -0800
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Try 1-800-201-7575. I've gotten a real, live person at this number. Good
luck!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Lavolta Press
Sent: Thursday, March 16, 2006 1:59 PM
To: Historical Costume
Subject: Re: [h-cost] semi-OT: waiting for books


Considering it's almost impossible to get hold of a live person at 
Amazon, the "Your Account" page is probably your only recourse.  Note 
that these days if you choose the free shipping option, Amazon often 
holds the entire order until _all_ items are available, which can be 
weeks or even a couple of months.

I'm not worrying about my order for the _Tudor Tailor_, and wouldn't 
until around mid April at the very least. First they have to get the 
books from the printer--March is not over yet--then yours has to get to 
you, presumably via media mail.  In fact I seldom worry about these 
things at all--nagging someone is not going to get either their book 
printer or media mail to hurry up.

Fran
Lavolta Press
http://www.lavoltapress.com


E House wrote:

> ----- Original Message ----- From: "Lavolta Press" 
> <fran@lavoltapress.com>
> 
>> When you log into Amazon you can go to a "Your Account" page, where
>> you can look at all your orders and see the exact status of each one.
> 
> 
> The problem is that someone else ordered it for me. =}  I _think_ 
> she's
> checked that, but I'll make sure.
> 
> -E House
> _______________________________________________
> 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] "Great Coat"
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In a message dated 3/16/2006 3:57:54 PM Eastern Standard Time,  
AlbertCat@aol.com writes:

Perhaps  it just means the outer most coat, or a long coat....whether it has  
 
multiple capes,or is even heavy wool, or no. Perhaps a long light coat  for  
fall or spring or riding or traveling. "Great" referring to  its  length


No, this is definitely what we would call a dress of some kind--one of her  
friends is putting one on for dinner.  I'm only familiar with the  definition 
as an overcoat, and that is why I'm so confused.
 
Ann Wass
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] semi-OT: waiting for books
Date: Thu, 16 Mar 2006 22:22:43 -0500
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On Thursday 16 March 2006 6:24 pm, Suzi Clarke wrote:
[snip]
> >E House wrote:
> >>Has anyone order and actually received either of these two books?
> >>
> >>
> >>
> >>"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
> >>ISBN: ?
>
> Ninya Mikhaila has only just received her own copy of the book. They
> will be shipped as soon as the rest arrive.

Good.  I have my certificate that the received my payment; just waiting for 
the book....


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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Subject: Re: [h-cost] "Great Coat"
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In a message dated 3/16/2006 8:51:40 PM Eastern Standard Time,  
drewscph@post12.tele.dk writes:

When  Struensee, a german doctor was excecuted in Copenhagen, the newspapers  
wrote that he wore a "Viltskur" wich is the danish name of a greatcoat  made 
of fur. His fur coat was made of wolf. It was angle lenght and had a  big 
collar attached to it according to the print they published of the  episode. 
The german doctor had first his right hand cut off, then his  head. He had an 
affair with our queen.



Thanks Bjarne, but in the context this is definitely a "dress" of some  kind. 
 One of several references--"We have retired to dress for  dinner.  Shall I 
tell you our dresses? I hear you say "Yes."  Mrs. P.  wears a brocade; Cousin 
M. her pink Great-Coat, and I my pink."
 
However, your story reminded me that I read a historical novel years ago  
about this queen.  According to that author, her husband was, ahem, not  that 
interested in women, so she turned elsewhere for solace.  It was so  long ago 
that I don't remember the title or author, but I remember it was  about a queen 
of Denmark, and that her lover was a learned man.
 
Ann Wass
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Subject: Re: [h-cost] "Great Coat"
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> I'm reading a diary of a young woman in Virginia in 1787, and she uses the
> term "great coat" for an article of clothing.  It is clear from the
context
> that this is NOT the many-caped, overcoat type garment.  I know that
"coat"
> could refer to a petticoat, but any ideas as to this particular usage?

Would it be possible to read this in context? It may help us understand the
context better as well.

Have you tried the 18thC woman list on yahoo?
http://groups.yahoo.com/group/18cWoman/

michaela de bruce
http://glittersweet.com




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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] period dye color references
Date: Thu, 16 Mar 2006 22:58:25 -0600
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I have always heard that it is the flower or the whole plant that is used in
dyeing not just the root. (Though there is a site online that says you can
get a red from the root).
What color is made, I don't know as I have not gotten into natural dyeing.
One person told me that she achieved an almost saffron color reddish yellow
with the flowers.
And another said she used Alum and got yellow. So maybe the mordant might
have an effect in the color.
Another said that the leaves with salt made red.
Found this site of someones experiment:
http://www.sewanee.edu/chem/chem&art/Detail_Pages/Projects_2003/Lawrence/htm
l/Lawrence.html

The root of the dandelion is good for the liver and has been used in cases
of cirrhosis of the liver. It is a diuretic which helps to flush the liver
and kidney's. The leaves when picked young is good to add to a salad. The
leaves also contain A,B,C, and D vitamins, plus potassium salts, iron and
other minerals.
The flowers are edible as well and pretty up a salad.
The root is also an anti-rheumatic and a mild laxative.
If you choose to try dandelion in your diet, please learn the hows and
wheres of harvesting the plant. Like don't eat of a dandelion growing very
near a highway of road.

De

-----Original Message-----
..as far as any of the more experienced dyers could tell, get reds from
dandelion root.

Pixel/Margaret


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In a message dated 3/16/2006 10:53:49 PM Eastern Standard Time,  
thebruce@ihug.co.nz writes:

Would it  be possible to read this in context? It may help us understand the
context  better as well.

Have you tried the 18thC woman list on  yahoo?
http://groups.yahoo.com/group/18cWoman/




I did the first--see a later post.  But will try the second.   Thanks for the 
suggestion.
 
Ann Wass
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Gotcha...now another question...what's this?   
h-costume-request@indra.com   (It is at the bottom of your note)
Is this where you ask things like how many people are on the list, who 
is on the list etc?  I haven't done it in awhile.

Are the digests retrievable that way?  Also, have you tried looking for 
digests or days of mail on the archives.  I find this one especially useful.
http://www.mail-archive.com/h-costume@mail.indra.com/index.html  (There 
are several others which can be found here:  
http://www.mail-archive.com/h-costume@mail.indra.com/info.html)

Sg

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On Fri, 17 Mar 2006, WickedFrau wrote:

> Gotcha...now another question...what's this?   
> h-costume-request@indra.com   (It is at the bottom of your note)

It's how you reach the listowner by e-mail.

> Is this where you ask things like how many people are on the list, who 
> is on the list etc?  I haven't done it in awhile.

Do that here:
> http://mail.indra.com/mailman/listinfo/h-costume

> Are the digests retrievable that way?

No, indra doesn't keep digests. Use Eric's collection of past posts,
month by month, at http://sca.uwaterloo.ca/~fashion/archives/ .
To find recent individual posts, try
http://news.gmane.org/gmane.culture.studies.history.costume (since late
June) or
http://www.mail-archive.com/h-costume@mail.indra.com/index.html#03702
(since about the same time).

--Robin


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>Ninya Mikhaila has only just received her own copy of the book. They 
>will be shipped as soon as the rest arrive.

>Suzi

Thank you.  I am also waiting for a copy.

Anne



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Date: Fri, 17 Mar 2006 08:06:52 +0000 (GMT)
From: Lena <lenastrid@yahoo.com>
Subject: Re: [h-cost] Re: monk underwear
To: Historical Costume <h-costume@indra.com>
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--- Heather Rose Jones <heather.jones@earthlink.net>
wrote:
<snip>
> 
> There's an even better example in Walter Map's "De
> Nugis Curialium"  
> where he tells a story of a monk whose order
> disdained underpants as  
> being too luxurious, so that when he took a tumble
> in the street he  
> exposed his ... parts for all and sundry to see. 
> Walter gives the  
> moral of the story as something roughly equivalent
> to "sometimes  
> discretion is the better part of asceticism".
> 
> Heather

Do you know where in De Nugis Curialium this story is?
I've been wanting to follow up this reference for
quite a while, but the book is reference only, and
rather thick, so I can't justify an entire photocopy.

/Lena



		
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <30d.52f996.314b8507@aol.com>
Subject: Re: [h-cost] "Great Coat"
Date: Fri, 17 Mar 2006 11:39:34 +0100
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Hi Ann,
Yes the king was suffering from scitsofrenia, dont know how you spell it 
propper, sorry, and the german doctor had good treatments for the king, 
eventually love grew betwen the queen and the doctor.
The queen had a daughter wich was the doctors child, but she actually was 
treated like a real princess. The doctor was excecuted and the queen was 
deported to Germany
where she died few years later. We have a lack of portraits of the queen, 
because they mostly all was burned.
Even the summer pallace where they spended their affairs, was teared down to 
the ground.
True story.
I could ask the 18th century womens list about the Great Coat for women, 
never heard that.
Only outer garment i know women used, was a cloak, a saloppe, and a 
Brunswick. The last term, Brunswick had a special variation here in Denmark, 
it was used for indoor wear, and was cut same way as a robe a la francaise, 
except no pleats in the back, but a hood in the neck. It was another queen 
that came from Brunswick wich introduced this version to the danish ladys.

Bjarne
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Friday, March 17, 2006 4:20 AM
Subject: Re: [h-cost] "Great Coat"


>
> In a message dated 3/16/2006 8:51:40 PM Eastern Standard Time,
> drewscph@post12.tele.dk writes:
>
> When  Struensee, a german doctor was excecuted in Copenhagen, the 
> newspapers
> wrote that he wore a "Viltskur" wich is the danish name of a greatcoat 
> made
> of fur. His fur coat was made of wolf. It was angle lenght and had a  big
> collar attached to it according to the print they published of the 
> episode.
> The german doctor had first his right hand cut off, then his  head. He had 
> an
> affair with our queen.
>
>
>
> Thanks Bjarne, but in the context this is definitely a "dress" of some 
> kind.
> One of several references--"We have retired to dress for  dinner.  Shall I
> tell you our dresses? I hear you say "Yes."  Mrs. P.  wears a brocade; 
> Cousin
> M. her pink Great-Coat, and I my pink."
>
> However, your story reminded me that I read a historical novel years ago
> about this queen.  According to that author, her husband was, ahem, not 
> that
> interested in women, so she turned elsewhere for solace.  It was so  long 
> ago
> that I don't remember the title or author, but I remember it was  about a 
> queen
> of Denmark, and that her lover was a learned man.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: stilskin@netspace.net.au
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Subject: Re: [h-cost] "Great Coat"
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If you've ever marched up and down some hill in the rain in the middle of the 
night with some idgit sergeant barking at you coz he's been barked at, you'll 
know what a great coat is!

(A big overcoat)

-C.


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <30d.52f996.314b8507@aol.com>
Subject: Re: [h-cost] "Great Coat"
Date: Fri, 17 Mar 2006 08:25:01 -0500
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Sounds to me that this "coat" might be her own term for a RobeD'Anglais?
Even in these modern times I hear discussions about coat dresses of the 18th
C.

Kathleen

----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, March 16, 2006 10:20 PM
Subject: Re: [h-cost] "Great Coat"


>
> In a message dated 3/16/2006 8:51:40 PM Eastern Standard Time,
> drewscph@post12.tele.dk writes:
>
> When  Struensee, a german doctor was excecuted in Copenhagen, the
newspapers
> wrote that he wore a "Viltskur" wich is the danish name of a greatcoat
made
> of fur. His fur coat was made of wolf. It was angle lenght and had a  big
> collar attached to it according to the print they published of the
episode.
> The german doctor had first his right hand cut off, then his  head. He had
an
> affair with our queen.
>
>
>
> Thanks Bjarne, but in the context this is definitely a "dress" of some
kind.
>  One of several references--"We have retired to dress for  dinner.  Shall
I
> tell you our dresses? I hear you say "Yes."  Mrs. P.  wears a brocade;
Cousin
> M. her pink Great-Coat, and I my pink."
>
> However, your story reminded me that I read a historical novel years ago
> about this queen.  According to that author, her husband was, ahem, not
that
> interested in women, so she turned elsewhere for solace.  It was so  long
ago
> that I don't remember the title or author, but I remember it was  about a
queen
> of Denmark, and that her lover was a learned man.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

_______________________________________________
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To: "Historical Costume" <h-costume@indra.com>
References: <be.39b429a1.314b26de@aol.com>
	<00d601c64976$50d60650$0401010a@michaela>
Subject: Re: [h-cost] "Great Coat"
Date: Fri, 17 Mar 2006 08:27:14 -0500
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Also, is this diary American or English or whatever.  I suppose that could
in itself give a clue.
Kathleen
----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 16, 2006 10:53 PM
Subject: Re: [h-cost] "Great Coat"


> > I'm reading a diary of a young woman in Virginia in 1787, and she uses
the
> > term "great coat" for an article of clothing.  It is clear from the
> context
> > that this is NOT the many-caped, overcoat type garment.  I know that
> "coat"
> > could refer to a petticoat, but any ideas as to this particular usage?
>
> Would it be possible to read this in context? It may help us understand
the
> context better as well.
>
> Have you tried the 18thC woman list on yahoo?
> http://groups.yahoo.com/group/18cWoman/
>
> michaela de bruce
> http://glittersweet.com
>
>
>
>
> -- 
> No virus found in this outgoing message.
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>
> _______________________________________________
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>

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From: Elizabeth Lear <eliz@indra.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Archives (clip and save so I don't have to keep posting
	this!)
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> > h-costume-request@indra.com   (It is at the bottom of your note)

> It's how you reach the listowner by e-mail.

Nope, sorry - the h-costume-request address is for subbing or
unsubbing through email.  To reach me, the owner, use h-costume-owner.

						...eliz

-- 
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Date: Fri, 17 Mar 2006 09:06:33 EST
Subject: Re: [h-cost] "Great Coat"
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In a message dated 3/17/2006 8:20:01 A.M. Eastern Standard Time,  
stilskin@netspace.net.au writes:

If  you've ever marched up and down some hill in the rain in the middle of 
the  
night with some idgit sergeant barking at you coz he's been barked at,  
you'll 
know what a great coat is!

(A big  overcoat)




Ah, yes, I know this definition well, and have seen many examples.   However, 
I repeat, in the context I'm talking about, this garment is most  definitely 
NOT a heavy overcoat!!!!
 
You don't wear those to dinner, I don't think, unless in camp, in the  
driving rain or numbing cold.
 
Ann Wass
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In a message dated 3/17/2006 8:23:24 A.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

Sounds  to me that this "coat" might be her own term for a RobeD'Anglais?
Even in  these modern times I hear discussions about coat dresses of the  18th
C.



Thanks--that makes some sense.  I am going to post to the 18thc Woman  list, 
too, as soon as my membership is approved.
 
Ann Wass
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In a message dated 3/17/2006 8:25:45 A.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

Also, is  this diary American or English or whatever.  I suppose that could
in  itself give a clue.
Kathleen



American, tidewater Virginia, 1787.
 
Ann Wass
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<--- tearoses@aol.com wrote:
<
<Ooh! I was just reading about this! The Roman hippodrome had four stables which each <had a different color associated with it: red, green, blue, and white. They were <like different teams, so maybe the filmmakers assumed people would have dressed in <their teams' colors just like modern sports fans (and I wouldn't be surprised if <they were right). Those four colors were also associated with the four political <factions that served as labor unions/guilds/political machines for the city of Rome, <and later Constantinople, so alternatively, they could have been implying that those <people were supporters of those factions. I haven't found out yet if the stables <were associated with the factions, but in Constantinople, the emperor Justinian was <nearly overthrown by an alliance of the four factions at the end of a chariot race <in the hippodrome, which seems to have been used by the factions to whip the crowd <into a suitably revolutionary frenzy.
< 
<Tea Rose

Admittedly, this came from fiction, but the author is pretty careful about her research - I *think* I read, in passing, that the chariot team supporters did show their support by wearing their their teams' colours, at least at the races. The books are by Lindsay Davis, and a great favourite of my husband and I - the series makes Rome circa AD70 come very alive.

This is the series -

http://www.amazon.com/exec/obidos/tg/stores/series/-/504/ref=pd_sr_ec_ser_b/104-8506690-0966322

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~




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From: "Joannah Hansen" <Joannah@SLUGGY.NET>
To: <h-costume@indra.com>
Subject: Re: [h-cost] period dye color references
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>--- K.M.Bunting@derby.ac.uk wrote:
>
>I believe magenta was one of the aniline dyes invented in the later 19th century and >was named after a battle in Napoleon III's reign - but I assume the poster was >referring to a natural colour approaching that shade.
> 
>>> suzi@suziclarke.co.uk 15/03/2006 21:49 >>>
>
>I always thought that magenta was named after a battle in the 
>Napoleonic wars but I could be way wrong!
>
>Suzi

I found this:

magenta

adj : deep purplish red n 1: a dark purple-red; the dye was discovered in 1859, the year of the battle of Magenta [syn: fuchsia] 2: a battle in 1859 in which the French and Sardinian forces under Napoleon III defeated the Austrians under Francis Joseph I [syn: Magenta, Battle of Magenta]

Source: WordNet Â® 2.0, Â© 2003 Princeton University 

And this is just interesting:

Main Entry: fuchÂ·sin
Variant: or fuchÂ·sine /'fyÃ¼k-s&n, -"sEn/ 
Function: noun
: a dye that is produced by oxidation of a mixture of aniline and toluidines, that yields a brilliant bluish red, and that is used in carbolfuchsin paint, in Schiff's reagent, and as a biological stain 
Fuchs /'fuks/, Leonhard (1501â€“1566), German botanist and physician. In 1542 Fuchs published De Historia Stirpium, a manual of herbal plants that stands as a landmark in botany. The work is historically important for its orderly presentation, accurate drawings and precise plant descriptions, and its glossary of botanical terms. Fuchs was especially interested in the medicinal properties of plants, and his book listed the reputed powers of each. The genus Fuchsia was named in his honor by Linnaeus in 1753. Fuchsia also denotes the vivid reddish purple color of the flowers of many plants belonging to the genus. 

Source: Merriam-Webster's Medical Dictionary, Â© 2002 Merriam-Webster, Inc. 

I love this list - it leads me to look up so many interesting things - I had no idea before this that the colour was named after a Napoleonic battle.

Joannah. 

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~





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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] period dye color references
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At 15:58 17/03/2006, you wrote:
> >--- K.M.Bunting@derby.ac.uk wrote:
> >
> >I believe magenta was one of the aniline dyes 
> invented in the later 19th century and >was 
> named after a battle in Napoleon III's reign - 
> but I assume the poster was >referring to a 
> natural colour approaching that shade.
> >
> >>> suzi@suziclarke.co.uk 15/03/2006 21:49 >>>
> >
> >I always thought that magenta was named after a battle in the
> >Napoleonic wars but I could be way wrong!
> >
> >Suzi
>
>I found this:
>
>magenta
>
>adj : deep purplish red n 1: a dark purple-red; 
>the dye was discovered in 1859, the year of the 
>battle of Magenta [syn: fuchsia] 2: a battle in 
>1859 in which the French and Sardinian forces 
>under Napoleon III defeated the Austrians under 
>Francis Joseph I [syn: Magenta, Battle of Magenta]
>
>Source: WordNet Â® 2.0, Â© 2003 Princeton University
>
>And this is just interesting:
>
>Main Entry: fuchÂ·sin
>Variant: or fuchÂ·sine /'fyÃ¼k-s&n, -"sEn/
>Function: noun
>: a dye that is produced by oxidation of a 
>mixture of aniline and toluidines, that yields a 
>brilliant bluish red, and that is used in 
>carbolfuchsin paint, in Schiff's reagent, and as a biological stain
>Fuchs /'fuks/, Leonhard (1501­1566), German 
>botanist and physician. In 1542 Fuchs published 
>De Historia Stirpium, a manual of herbal plants 
>that stands as a landmark in botany. The work is 
>historically important for its orderly 
>presentation, accurate drawings and precise 
>plant descriptions, and its glossary of 
>botanical terms. Fuchs was especially interested 
>in the medicinal properties of plants, and his 
>book listed the reputed powers of each. The 
>genus Fuchsia was named in his honor by Linnaeus 
>in 1753. Fuchsia also denotes the vivid reddish 
>purple color of the flowers of many plants belonging to the genus.
>Source: Merriam-Webster's Medical Dictionary, Â© 2002 Merriam-Webster, Inc.
>
>I love this list - it leads me to look up so 
>many interesting things - I had no idea before 
>this that the colour was named after a Napoleonic battle.

I did, but the wrong Napoleon. See, a little knowledge....................

Suzi



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My modern references state thus:
   
  #1. Dandelion flowers with alum mordant produce a soft yellow, flowers with a tin mordant produce yellow, and the whole plant -roots, leaves and flowers - without mordant produces a magenta color.
   
  #2. Dandelion flowers with tin mordant produce a golden yellow and dandelion root with an alum mordant a gold-yellow similar to what we call 'goldenrod' paper. (this one has a color chart)
   
  I spent a few years as a R&D lab technician at a homeopathic manufacturing company. Dandelion is a great foodstuff/supplement. Good for the liver too. My dad used it in salads and for making wine.
   
  Annette M (looking forward to finally moving into our new house where there is a lot more space for sewing and room to start experimenting with natural dyes)

h-costume-request@indra.com wrote:
  Message: 6
Date: Thu, 16 Mar 2006 22:58:25 -0600
From: "otsisto" 
Subject: RE: [h-cost] period dye color references

I have always heard that it is the flower or the whole plant that is used in
dyeing not just the root. (Though there is a site online that says you can
get a red from the root).
What color is made, I don't know as I have not gotten into natural dyeing.
One person told me that she achieved an almost saffron color reddish yellow
with the flowers.
And another said she used Alum and got yellow. So maybe the mordant might
have an effect in the color.
Another said that the leaves with salt made red.
Found this site of someones experiment:
http://www.sewanee.edu/chem/chem&art/Detail_Pages/Projects_2003/Lawrence/htm
l/Lawrence.html

The root of the dandelion is good for the liver and has been used in cases
of cirrhosis of the liver. It is a diuretic which helps to flush the liver
and kidney's. The leaves when picked young is good to add to a salad. The
leaves also contain A,B,C, and D vitamins, plus potassium salts, iron and
other minerals.
The flowers are edible as well and pretty up a salad.
The root is also an anti-rheumatic and a mild laxative.
If you choose to try dandelion in your diet, please learn the hows and
wheres of harvesting the plant. Like don't eat of a dandelion growing very
near a highway of road.

De

-----Original Message-----
..as far as any of the more experienced dyers could tell, get reds from
dandelion root.

Pixel/Margaret


		
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Subject: [h-cost] German water--attn dyers
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One of my customers, an American who lives in Germany, recently mentioned 
something that I'd never heard before: for some reason, a lot of dyes bleed 
in their water, which wouldn't bleed in US water (definitely including 
commercial dyes, on cloth from the US and possibly also from Europe).

Do we have any people from Germany on the list?  Have you dealt with this 
phenomenon?  Any idea what might be in German water/missing from German 
water that wouldn't be in/missing from US water? Could it be flouride? I'm 
trying to find some sort of mordant/dye setting chemical that I could use, 
that would fix the dye on the cloth I'm about to use for her gown.

Aside from some flouridated toothpaste I can only get from the dentist, I 
have no ideas for a source of OTC flouride, but if flouride is absent from 
German water that'd definitely be the first thing I'd want to try.  My only 
other idea for the moment is vinegar, which I think is not technically a 
mordant, but does have dye-setting properties on at least some fibers. (The 
fabrics I'll be using are linen and silk.)

-E House 

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From: "E House" <formfunc@formfunction.org>
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Subject: Re: [h-cost] Re: period dye color references
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----- Original Message ----- 
From: "Kahlara" <kahlara@yahoo.com>
> My modern references state thus:
>  #1. Dandelion flowers with alum mordant produce a soft yellow, flowers 
> with a tin mordant produce yellow, and the whole plant -roots, leaves and 
> flowers - without mordant produces a magenta color.


Does your reference say anything about colorfastness?

-E House

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Date: Fri, 17 Mar 2006 09:47:32 -0800
From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] 17th c doublet cuff closure
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>Hi Cin,
>The print i talk about is in the italian fashion history book by Mila
>Contini, if you would like, i can scan the print for you and send you by
>email.

Yes please!  That's one book I dont have.
I found your guy Abraham Bosse and his lovely illustrations. Pretty
pictures!  None of them show the doublet wrist closure without the
lace cuff.  The closure is always covered up. Carpaccio's men are the
same always covered by lace so I cant see what I want to see.

>I am not sertan about what you want, a book about doublets? If there was on
>i would surely like to know :-)

I'm trying to figure out how the wrist closure is constructed. I doubt
it is constructed like a modern suit jacket where the vent is lapped
then sewn in place with false buttonholes.  Does it have lots of
buttons or just one? Is it laced? hooked? or completely closed & the
hand just slips in?

I guess i need a picture of a guy getting dressed, just before he
turns the lace cuffs back. Or perhaps a pic of a guy in a doublet
"shooting his cuffs" the way modern men in suits do.

>The cut of mens clothes has a doublet from the time!

True. And she, Norah Waugh, never shows the cuff closure.  I'll go
look thru Janet Arnold again. Thanks, Bjarne, you're a pal!

--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: Robin Netherton <robin@shell.nightowl.net>
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On Fri, 17 Mar 2006, Elizabeth Lear wrote:

> Nope, sorry - the h-costume-request address is for subbing or
> unsubbing through email.  To reach me, the owner, use h-costume-owner.

Whoops. I knew that. (Didn't I?)

--Robin

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Subject: [h-cost] Re: h-costume Digest, Vol 5,
	Issue 259 (Factions and Roman colors)
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That's very interesting. I'm technically studying late antique Byzantium, so I hadn't come across that bit of information yet. 
 
Thanks!
Tea Rose
 
================================================================================
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 5, Issue 250
To: Historical Costume <h-costume@indra.com>

I believe the word "factio" originally referred to the chariot-racing 
teams, and then the supporters of each team banded together for social 
welfare etc, and the modern meaning of "faction" as a political grouping 
grew out of that.

Jean
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Subject: Re: [h-cost] 17th c doublet cuff closure
Date: Fri, 17 Mar 2006 21:43:26 +0100
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Dear Cin,
I have a catalog from Royal Armory in Stockholm. The swedes has great 
doublets from the time all very nicely preserved.
I also have the fine book the museum published "Fashion Lions" about the 
mens fashion.
The doublets all have 2 piece sleaves. The back seam is not finished, but 
opened about 5-10 cm. Then they used to (in come cases) turn back the 
sleave, so that it would make a cuff in itself. But when worn with white 
linnen cuffs, i suppose they were just pinned together with the cuffs. No 
buttons, no buttonholes - nothing
So my guess is that they pinned the sleaves together at the wrist!
Does this make sence?
Bjarne

----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Friday, March 17, 2006 6:47 PM
Subject: Re: [h-cost] 17th c doublet cuff closure



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	Fri, 17 Mar 2006 15:18:43 PST
Date: Fri, 17 Mar 2006 15:18:43 -0800 (PST)
From: Kahlara <kahlara@yahoo.com>
Subject: Re:  [h-cost] period dye color references
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Wonderful! So there is reference to a color of that sort, even if it didn't have that name yet, as far back as the 16th century.
   
  Thank you!

Annette M
    >Message: 7
>Date: Fri, 17 Mar 2006 07:58:55 -0800 (PST)
>From: "Joannah Hansen" 
>Subject: Re: [h-cost] period dye color references
>
<snip>--
>
>I found this:
>
>magenta
>
>adj : deep purplish red n 1: a dark purple-red; the dye was discovered in >1859, the year of the battle of Magenta [syn: fuchsia] 2: a battle in 1859 in >which the French and Sardinian forces under Napoleon III defeated the >Austrians under Francis Joseph I [syn: Magenta, Battle of Magenta]
>
>Source: WordNet Â® 2.0, Â© 2003 Princeton University 
>
>And this is just interesting:
>
>Main Entry: fuchÂ·sin
>Variant: or fuchÂ·sine /'fyÃ¼k-s&n, -"sEn/ 
>Function: noun
>: a dye that is produced by oxidation of a mixture of aniline and toluidines, >that yields a brilliant bluish red, and that is used in carbolfuchsin paint, in >Schiff's reagent, and as a biological stain 
>Fuchs /'fuks/, Leonhard (1501â€“1566), German botanist and physician. In >1542 Fuchs published De Historia Stirpium, a manual of herbal plants that >stands as a landmark in botany. The work is historically important for its >orderly presentation, accurate drawings and precise plant descriptions, and >its glossary of botanical terms. Fuchs was especially interested in the >medicinal properties of plants, and his book listed the reputed powers of >each. The genus Fuchsia was named in his honor by Linnaeus in 1753. >Fuchsia also denotes the vivid reddish purple color of the flowers of many >plants belonging to the genus. 
>
>Source: Merriam-Webster's Medical Dictionary, Â© 2002 Merriam-Webster, >Inc. 
>
>I love this list - it leads me to look up so many interesting things - I had no >idea before this that the colour was named after a Napoleonic battle.
>
>Joannah. 

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From: Kahlara <kahlara@yahoo.com>
Subject: Re:  [h-cost] period dye color references/color fastness
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  Yes, the first reference stated good color fastness in the yellow with both tin and alum, but had no comment regarding the magenta without mordant - leading me to believe that it is not color fast at all.
   
  Annette M
   
   
  Message: 12
Date: Fri, 17 Mar 2006 12:39:50 -0600
From: "E House" 
Subject: Re: [h-cost] Re: period dye color references

----- Original Message ----- 
From: "Kahlara" 
> My modern references state thus:
> #1. Dandelion flowers with alum mordant produce a soft yellow, flowers 
> with a tin mordant produce yellow, and the whole plant -roots, leaves and 
> flowers - without mordant produces a magenta color.


Does your reference say anything about colorfastness?

-E House

		
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Subject: [h-cost] Re: German water--attn dyers
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I'm not a dyer (yet!) but I doubt it's flouride; we don't have it in the water where I live (Independence, Missouri) and I haven't noticed anything like that. Well, we do have a teensy bit that occurs naturally, but it's not artificially added like in most municipal water supplies. 
 
I read an article once about how Europeans are always quick to adopt new stuff for their laundry but Americans are more reluctant to buy new products. Could it be something about the detergent she's using?
 
Tea Rose
 
===================================================================
 
From: "E House" <formfunc@formfunction.org>
Subject: [h-cost] German water--attn dyers
To: "Historical Costume" <h-costume@indra.com>

 Any idea what might be in German water/missing from German 
water that wouldn't be in/missing from US water? Could it be flouride? 
-E House 
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] German water--attn dyers
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I've gotten fluoride mouth rinse from our dentist, also I think there is
some OTC.I'm not sure of the concentration, though. I think it's more likely
a mineral that is/is not in the water, since tin, salt, and alum are all (?)
minerals.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of E House
Sent: Friday, March 17, 2006 7:56 AM
To: Historical Costume
Subject: [h-cost] German water--attn dyers


One of my customers, an American who lives in Germany, recently mentioned 
something that I'd never heard before: for some reason, a lot of dyes bleed 
in their water, which wouldn't bleed in US water (definitely including 
commercial dyes, on cloth from the US and possibly also from Europe).

Do we have any people from Germany on the list?  Have you dealt with this 
phenomenon?  Any idea what might be in German water/missing from German 
water that wouldn't be in/missing from US water? Could it be flouride? I'm 
trying to find some sort of mordant/dye setting chemical that I could use, 
that would fix the dye on the cloth I'm about to use for her gown.

Aside from some flouridated toothpaste I can only get from the dentist, I 
have no ideas for a source of OTC flouride, but if flouride is absent from 
German water that'd definitely be the first thing I'd want to try.  My only 
other idea for the moment is vinegar, which I think is not technically a 
mordant, but does have dye-setting properties on at least some fibers. (The 
fabrics I'll be using are linen and silk.)

-E House 

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From: Lavolta Press <fran@lavoltapress.com>
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Subject: [h-cost] Early 19th century French term
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Has anyone run across a reference to some sort of early 19th-century 
tool for pinking fabric called an arrache-pièce à dents?  (I'm not sure 
the accents will come through in the email you receive, but I tried. 
The only modern reference I've found to this terms to a tool called a 
"gear puller" in English, and this is certainly not that.)  If so can 
you point me to any more info?

Fran
Lavolta Press
http://www.lavoltapress.com
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Subject: Re: [h-cost] German water--attn dyers
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> Aside from some flouridated toothpaste I can only get from the dentist, 
> I have no ideas for a source of OTC flouride, but if flouride is absent

 	I have no idea of the effects of fluoride on dye or how close it 
is to the stuff in water but you can get fluoride tablets or drops from
dentists.  Water where I live is not fluoridated either but I don't notice 
the kind of bleeding you mention.

lisa
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Archives (clip and save so I don't have to keep
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To save re-posting this info is there any way we can add the archives 
address to the info that's attached to the bottom of every email?
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Date: Fri, 17 Mar 2006 20:37:33 -0500
To: Historical Costume <h-costume@indra.com>
From: david webb <alderweb@vaxxine.com>
Subject: Re: [h-cost] "Great Coat"
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I'm wondering if "great coat" possibly could have been her nickname or 
personal slang between her and her friends for "redingcote"? I've deleted 
the original posting, but wasn't the dairy written in 1787?  Weren't 
redingcotes very stylish then?  They two terms sound so similar.

I read a book years ago about Elizabeth Fry, about the same time period, 
(maybe a little later?), and she and her sisters had all sorts of family 
nicknames that would have meant nothing to an outsider. I nicknamed a dress 
of mine my "Red Army" dress - (it was a wool, army green coat dress) and 
only my sister  would know what that meant. If I had mentioned it in a 
letter or diary, two hundred years later a reader might think that it was 
fashionable for women in the 1980's to wear dresses from the Soviet Union 
military when it was merely an in-joke between friends.

Just thinking.

Sheridan Alder



At 10:14 PM 3/16/2006 -0500, you wrote:
>
>In a message dated 3/16/2006 3:57:54 PM Eastern Standard Time,
>AlbertCat@aol.com writes:
>
>Perhaps  it just means the outer most coat, or a long coat....whether it has
>
>multiple capes,or is even heavy wool, or no. Perhaps a long light coat  for
>fall or spring or riding or traveling. "Great" referring to  its  length
>
>
>No, this is definitely what we would call a dress of some kind--one of her
>friends is putting one on for dinner.  I'm only familiar with the  definition
>as an overcoat, and that is why I'm so confused.
>
>Ann Wass
>_______________________________________________
>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] German water--attn dyers--and chemists!
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Very interesting.  I live in an area where the water is over fluoridated 
(is that a word?)  People moving into new developments have to sign a 
release that they understand the water is not good for children 
(discolors teeth).  I have not experienced any excessive problem with 
bleeding.  We are talking about several washings after the dying right?  
I have one gown I have had problems with, but it is a cotton/linen blend 
and I used procion dyes.  The deep color has just not held up and does 
transfer to other clothing if left moist.  I use those color catchers, 
but if the spun items sit for any length of time, it transfers.  My 
linen and linen rayon blends, and silks dye up beautifully.  100% cotton 
does not dye as deeply. 

I use all the recommended chemicals, synthropol to wash after a 
detergent wash, casoline to distribute, soda ash to set, and fixative in 
a final rinse with softener....

Hmm.  As recall there is are a few chemists on the list..they might know 
more...

Sg

E House wrote:

> One of my customers, an American who lives in Germany, recently 
> mentioned something that I'd never heard before: for some reason, a 
> lot of dyes bleed in t dye-setting properties on at least some fibers. 
> (The fabrics I'll be using are linen and silk.)
>
> -E House
> _______________________________________________
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Ooooh, these look like fun! Thanks

Sg
Joannah Hansen wrote:

>
>Admittedly, this came from fiction, but the author is pretty careful about her research - I *think* I read, in passing, that the chariot team supporters did show their support by wearing their their teams' colours, at least at the races. The books are by Lindsay Davis, and a great favourite of my husband and I - the series makes Rome circa AD70 come very alive.
>
>This is the series -
>
>http://www.amazon.com/exec/obidos/tg/stores/series/-/504/ref=pd_sr_ec_ser_b/104-8506690-0966322
>
>Joannah
>
>~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~
>
>
>
>
>_____________________________________________________________
>Sluggy.Net: The Sluggy Freelance Community!
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>
>  
>

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Archives (clip and save so I don't have to keep
	postingthis!)
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On Sat, 18 Mar 2006, Elizabeth Walpole wrote:

> To save re-posting this info is there any way we can add the archives 
> address to the info that's attached to the bottom of every email?

If you go to the web page listed there already, you'll find directions on
getting to Eric's archive. This could be updated to include the two more
recent post-by-post archives (gmane and mail-archive), but still, given
the number of times people ask, it's obvious they aren't following the
existing link that's already on every message.

--Robin

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Quoting Robin Netherton <robin@shell.nightowl.net>:

>
> On Sat, 18 Mar 2006, Elizabeth Walpole wrote:
>
>> To save re-posting this info is there any way we can add the archives
>> address to the info that's attached to the bottom of every email?
>
> If you go to the web page listed there already, you'll find directions on
> getting to Eric's archive. This could be updated to include the two more
> recent post-by-post archives (gmane and mail-archive), but still, given
> the number of times people ask, it's obvious they aren't following the
> existing link that's already on every message.

I may be just having a "clueless Day," but there's nothing inherent
about the link at the bottom of each message

> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

that in any way indicates that you can find archives there.  I know that
they're there, because I'm an obsessive link follower .....

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 17th c doublet cuff closure
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Hi. From my view there aren't any closures, just a cuff. On some 
versions of doublets, though, there were buttoned closures, though, with 
the pose shown, you would see them. Cheers, Mike T.


>  
>
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On Fri, 17 Mar 2006, Susan B. Farmer wrote:

> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> 
> that in any way indicates that you can find archives there.  I know that
> they're there, because I'm an obsessive link follower .....

Well, it does say "listinfo." That would logically be the first place to
look for information about the list.

--Robin

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Subject: Re: [h-cost] Re: German water--attn dyers
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----- Original Message ----- 
From: <tearoses@aol.com>
<< I read an article once about how Europeans are always quick to adopt new 
stuff for their laundry but Americans are more reluctant to buy new 
products. Could it be something about the detergent she's using?>>


You know, this might be it--I'll ask her about it!

-E House 

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Just for fun--here's an analysis of a copy of Holbein's sketch of Thomas 
More's Family:
http://www.holbeinartworks.org/bfourstmandtpitt.htm
Anyone who makes it all the way through gets a cookie!

-E House 

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--- caitlin_oduibhir@yahoo.ca wrote:

That is exactly what I plan on using. I purchased some
white vintage kid gloves and will tack on the wrist
decoration with russet and olive ribbons. I currently
have it in a garment weight leather, but....it's
coming off rather heavy looking and totally
overpowering the delicacy of the kid and the silk
ribbons. I have also lined the leather with an
orange/red shot silk to make the slashes pop. It looks
good, but again, I need to lighten the leather up. I
have some paper thin sueded leather in white that
might work. I'm just reluctant to cut into it as it
had other plans to be corset binding. I'll see what I
can come up with. I wonder if I could just do it with
some white taffeta and the silk ribbons instead? That
would match the sheen of the kid and the delicacy of
the decoration. hmmmm....Must go rummaging for scraps!

Kathy

Have you tried to find garment/clothing leather? The sort of leather that they make womens leather skirts out of? That leather is usually very thin - not as thin as kid, but certainly finer than most leather from leather shops. It may be worth your while to have a search through your local second-hand clothes store, I know that I have seen cast-off leather clothes ( usually in *tiny* sizes, which I would imagine is why they are *still* in the shop! ) in the second-hand shops here. Or is there a leather clothing manufacturer near you who you could speak to, about maybe buying some offcuts?

The orange/red silk lining to show show through the slashes sounds gorgeous! You are going to show us pictures of the end result, right? :->

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~




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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I asked on 18th century list. They answered that it very well could have ben 
a redingote wich was very fashionable at this time. Redingote was an open 
robe with collar and long sleaves. And it could be the equivalent to a mans 
great coat.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: Re: [h-cost] Art Hysteria
Date: Sat, 18 Mar 2006 06:50:32 -0700
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Oh. My. Gaaaaawd.  It's an English version of that idiotic novel, _The
DaVinci Codes_.....same sort of bad history and art criticism.
--Sue, still sputtering through her breakfast oatmeal ;o)

----- Original Message -----
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 17, 2006 9:55 PM
Subject: [h-cost] Art Hysteria


> Just for fun--here's an analysis of a copy of Holbein's sketch of Thomas
> More's Family:
> http://www.holbeinartworks.org/bfourstmandtpitt.htm
> Anyone who makes it all the way through gets a cookie!
>
> -E House
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: [h-cost] Re: period dye color references now dandelions
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Hi
The best explanation I've heard for magenta from the roots was that 
the roots were used as an assist in getting the color (I think it was 
from Sue Grierson's book--<insert Lame Whine> I have it somewhere and 
this cold is making me fuzzy!).

Since it seems that many of the dye books use each other as 
references--esp those from the 70's and 80's-- the myth of 
magentas/purples from dandelions just keeps on popping up! Much like 
the plant <G>

I've tried many dyebaths some even using the plants with the purple 
on the leaves and have gotten glorious color--just not purples, not 
from the flower/leaves/roots or any combination of the same. The only 
thing I haven't tried is a complex extraction with alcohol or ammonia 
before dying. If the snows stop, then the cheery flowers will appear 
and I can try those dyebaths...

You can get purples in several, 'period' ways. Just not from the 
little dandelion. If I'm wrong and you have produced a purple from 
dandelion---please sent me a picture!!! And the recipe--and forward 
to the list, I know we'd all like to see it!

Ta
Carol--eagerly awaiting the return of Spring!
-- 
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: "Becky" <zeartiste@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Art Hysteria
Date: Sat, 18 Mar 2006 10:12:28 -0500
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That article shows how art can tell a tale. It also shows how much can be 
read into a painting. Through research and testing, inferrences can be drawn 
from points in the pictures. painters often hid things in their work that 
only an educated eye could find. Without the documentation of this, it would 
go unknown and lost to history.
Makes me wonder how much is true and how much is made up to fit a given 
situation.
----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 17, 2006 11:55 PM
Subject: [h-cost] Art Hysteria


> Just for fun--here's an analysis of a copy of Holbein's sketch of Thomas 
> More's Family:
> http://www.holbeinartworks.org/bfourstmandtpitt.htm
> Anyone who makes it all the way through gets a cookie!
>
> -E House
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
_______________________________________________
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From h-costume-bounces@indra.com  Sat Mar 18 10:38:21 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Re: period dye color references now dandelions
Date: Sat, 18 Mar 2006 16:38:00 +0100
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Hi,
This made me reminding an article in my textile history club, where one told 
about dying from and old recipy to blue i think, where they needed urin from 
a drunk man. Obviously this should make it special blue.
What does one not do to get the real thing?

Bjarne
----- Original Message ----- 
From: "cahuff" <cahuff@clearviewcatv.net>
To: <h-costume@indra.com>
Sent: Saturday, March 18, 2006 4:01 PM
Subject: [h-cost] Re: period dye color references now dandelions


> Hi
> The best explanation I've heard for magenta from the roots was that the 
> roots were used as an assist in getting the color (I think it was from Sue 
> Grierson's book--<insert Lame Whine> I have it somewhere and this cold is 
> making me fuzzy!).
>
> Since it seems that many of the dye books use each other as 
> references--esp those from the 70's and 80's-- the myth of 
> magentas/purples from dandelions just keeps on popping up! Much like the 
> plant <G>
>
> I've tried many dyebaths some even using the plants with the purple on the 
> leaves and have gotten glorious color--just not purples, not from the 
> flower/leaves/roots or any combination of the same. The only thing I 
> haven't tried is a complex extraction with alcohol or ammonia before 
> dying. If the snows stop, then the cheery flowers will appear and I can 
> try those dyebaths...
>
> You can get purples in several, 'period' ways. Just not from the little 
> dandelion. If I'm wrong and you have produced a purple from 
> dandelion---please sent me a picture!!! And the recipe--and forward to the 
> list, I know we'd all like to see it!
>
> Ta
> Carol--eagerly awaiting the return of Spring!
> -- 
> 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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Subject: Re: [h-cost] Re:Glove pic
Date: Sat, 18 Mar 2006 10:41:18 -0500
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Google for leather

You will come up with a few sites that carry thin leather for sale.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 18, 2006, at 2:53 AM, Joannah Hansen wrote:

> --- caitlin_oduibhir@yahoo.ca wrote:
>
> That is exactly what I plan on using. I purchased some
> white vintage kid gloves and will tack on the wrist
> decoration with russet and olive ribbons. I currently
> have it in a garment weight leather, but....it's
> coming off rather heavy looking and totally
> overpowering the delicacy of the kid and the silk
> ribbons. I have also lined the leather with an
> orange/red shot silk to make the slashes pop. It looks
> good, but again, I need to lighten the leather up. I
> have some paper thin sueded leather in white that
> might work. I'm just reluctant to cut into it as it
> had other plans to be corset binding. I'll see what I
> can come up with. I wonder if I could just do it with
> some white taffeta and the silk ribbons instead? That
> would match the sheen of the kid and the delicacy of
> the decoration. hmmmm....Must go rummaging for scraps!
>
> Kathy
>
> Have you tried to find garment/clothing leather? The sort of leather 
> that they make womens leather skirts out of? That leather is usually 
> very thin - not as thin as kid, but certainly finer than most leather 
> from leather shops. It may be worth your while to have a search 
> through your local second-hand clothes store, I know that I have seen 
> cast-off leather clothes ( usually in *tiny* sizes, which I would 
> imagine is why they are *still* in the shop! ) in the second-hand 
> shops here. Or is there a leather clothing manufacturer near you who 
> you could speak to, about maybe buying some offcuts?
>
> The orange/red silk lining to show show through the slashes sounds 
> gorgeous! You are going to show us pictures of the end result, right? 
> :->
>
> Joannah
>
> ~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~
>
>
>
>
> _____________________________________________________________
> Sluggy.Net: The Sluggy Freelance Community!
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Subject: Re: [h-cost] Art Hysteria
Date: Sat, 18 Mar 2006 09:57:39 -0600
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Status: RO

There's one thing that does intrigue me--the idea that this might actually 
be the original Holbein painting, which is a theory (according to the 
website, haha) that may have gained some believability among others.

-E House 

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From h-costume-bounces@indra.com  Sat Mar 18 11:07:45 2006
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Subject: [h-cost] Hand fan silk handpainted
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Status: RO

Hi,

Today I've bought a nice folding fan on an antiek market.
I just fell in love with it and had to buy it.
But the silk is damaged.
Is this reperable?

I am thinking of taking the fabric of and put new silk on it.
I have just the right silk for it.
I am a very practical person and I like to use things instead of letting 
them gather dust.
But in this state it is not usable.

I am wondering how others think of what I schould do.

And does anyone knows from which period this fan is?

Pictures from the fan are on the bottom of the page.
http://mystictimes.nl/Gallery/Gallery.html



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From h-costume-bounces@indra.com  Sat Mar 18 11:18:29 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Hand fan silk handpainted
Date: Sat, 18 Mar 2006 17:18:31 +0100
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Hi Deredere,
Oh congratulations with your find. It is very very nice. I think the fabric 
as you call it, actually is an old either Blonde lace or Chantilly. The 
thick silk gimp thread wich makes the pattern, and also the picots in the 
edges.
The painted flower suggests me to think that it could be a Victoraian fan.

Bjarne
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 18, 2006 5:07 PM
Subject: [h-cost] Hand fan silk handpainted


> Hi,
>
> Today I've bought a nice folding fan on an antiek market.
> I just fell in love with it and had to buy it.
> But the silk is damaged.
> Is this reperable?
>
> I am thinking of taking the fabric of and put new silk on it.
> I have just the right silk for it.
> I am a very practical person and I like to use things instead of letting 
> them gather dust.
> But in this state it is not usable.
>
> I am wondering how others think of what I schould do.
>
> And does anyone knows from which period this fan is?
>
> Pictures from the fan are on the bottom of the page.
> http://mystictimes.nl/Gallery/Gallery.html
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Sat, 18 Mar 2006 08:27:52 -0800 (PST)
Subject: Re: [h-cost] Early 19th century French term
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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> Has anyone run across a reference to some sort of early 19th-century
> tool for pinking fabric called an arrache-pièce à dents?  (I'm not sure
> the accents will come through in the email you receive, but I tried.
> The only modern reference I've found to this terms to a tool called a
> "gear puller" in English, and this is certainly not that.)  If so can
> you point me to any more info?

As near as I can translate it (from my 4+ years of high school french) the
literal translation is a "piece puller with teeth".  So your modern
reference is very close to the french term.

Could it be like the antique pinking tools you can see on EBay where you
turn a crank and run the fabric through to pink the edge?

Hope that helps...

diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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Hi, All. For all of the author's linguistic knowledge, they seem not to 
know much about the material culture of the period. At that time, clocks 
did not yet use a pendulum, and the ettiquite of the wearing of the 
collar of S's had not yet really been established. Look at the portrait 
of Henry VI in the National Portrait Gallery. His S's on what probably 
was a leather or woven collar went both ways (I wonder what the author 
might conjecture that to mean?) More's collar was the proper Tudor one 
with the portcullisses (Beaufort of Lancaster, true). In the web pic as 
well as in another more painting, the s's are "backward" But  the 
Holbein pic shown in Davenport shows them right way around, as it were. 
Proving what? Nothing that I can tell.  Mike T. PS a lot of fun reading, 
though...


> Just for fun--here's an analysis of a copy of Holbein's sketch of 
> Thomas More's Family:
> http://www.holbeinartworks.org/bfourstmandtpitt.htm
> Anyone who makes it all the way through gets a cookie!
>
> -E House
>
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Subject: Re: [h-cost] Early 19th century French term
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I think it's something that pinks on two sides of a band of material, 
but I imagine a punch could be made that way.  I was hoping someone on 
the list had seen one.

Fran
Lavolta Press
http://www.lavoltapress.com

Diana Habra wrote:
>>Has anyone run across a reference to some sort of early 19th-century
>>tool for pinking fabric called an arrache-pièce à dents?  (I'm not sure
>>the accents will come through in the email you receive, but I tried.
>>The only modern reference I've found to this terms to a tool called a
>>"gear puller" in English, and this is certainly not that.)  If so can
>>you point me to any more info?
> 
> 
> As near as I can translate it (from my 4+ years of high school french) the
> literal translation is a "piece puller with teeth".  So your modern
> reference is very close to the french term.
> 
> Could it be like the antique pinking tools you can see on EBay where you
> turn a crank and run the fabric through to pink the edge?
> 
> Hope that helps...
> 
> diana
> 
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
> 
> "Become the change you want to see in the world."
> --Ghandi
> 
> _______________________________________________
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> 
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Subject: Re: [h-cost] 17th c doublet cuff closure
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(snip)
> I'm trying to figure out how the wrist closure is constructed. I doubt
> it is constructed like a modern suit jacket where the vent is lapped
> then sewn in place with false buttonholes.  Does it have lots of
> buttons or just one? Is it laced? hooked? or completely closed & the
> hand just slips in?
>
> I guess i need a picture of a guy getting dressed, just before he
> turns the lace cuffs back. Or perhaps a pic of a guy in a doublet
> "shooting his cuffs" the way modern men in suits do.
>
>>The cut of mens clothes has a doublet from the time!
>
> True. And she, Norah Waugh, never shows the cuff closure.  I'll go
> look thru Janet Arnold again. Thanks, Bjarne, you're a pal!
>
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com

The V&A website has pictures of a white silk suit from about 1635 which 
shows the button closures on the sleeves.  They've also got an embroidered 
linen doublet on display that clearly shows the buttons on the sleeves.  I 
believe there are closeups of both of these in Historic Costume in Detail, 
but I don't have the book in front of me.  I've also got scans of paintings 
from the period clearly showing the sleeve details--Hal's The Laughing 
Cavalier comes to mind right off-hand.  They button/unbutton almost to the 
elbow on the outside of the arm.

Melusine 

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Subject: Re: [h-cost] Hand fan silk handpainted
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I'ts really hard to tell how bad the damage is by the pictures. If it's not too bad than it can be reinforced. If the damage is too bad, than yes, the sticks can be recovered as long as they're not cracked. If they are, you're better of leaving it as a display.
                                Tania 
 
-----Original Message-----
From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
To: Historical Costume <h-costume@indra.com>
Sent: Sat, 18 Mar 2006 17:07:07 +0100
Subject: [h-cost] Hand fan silk handpainted


Hi, 
 
Today I've bought a nice folding fan on an antiek market. 
I just fell in love with it and had to buy it. 
But the silk is damaged. 
Is this reperable? 
 
I am thinking of taking the fabric of and put new silk on it. 
I have just the right silk for it. 
I am a very practical person and I like to use things instead of letting them gather dust. 
But in this state it is not usable. 
 
I am wondering how others think of what I schould do. 
 
And does anyone knows from which period this fan is? 
 
Pictures from the fan are on the bottom of the page. 
http://mystictimes.nl/Gallery/Gallery.html 
 
 
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Status: RO

I have been working my way through the Egan Finds book for nearly two weeks
now.  I ordered it through David Brown Book Company along with Live and
Death aboard the Mary Rose.  A mere $100 combined, but for the bookoholic
and Tudor addict, they are both "necessary"  (yes, I know I'm late on my
taxes, but there were these books...  You understand, don't you?)

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Suzi Clarke
> Sent: Thursday, March 16, 2006 3:24 PM
> To: Historical Costume
> Subject: Re: [h-cost] semi-OT: waiting for books
>
>
> At 20:49 16/03/2006, you wrote:
>
> >I ordered the Tudor Tailor. Still waiting on it. They said "March
> >2006" and it is still March...
> >
> >E House wrote:
> >
> >>Has anyone order and actually received either of these two books?
> >>
> >>
> >>
> >>"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
> >>ISBN: ?
>
>
> Ninya Mikhaila has only just received her own copy of the book. They
> will be shipped as soon as the rest arrive.
>
> Suzi
>
>
> _______________________________________________
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>


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Subject: [h-cost] Stomacher
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I was recently made aware of the stomacher from some previous posts. I make Elizabethan costumes and though it isn't strictly period I am interested in learning more about them. I don't have the luxury of a ladies maid and this invention would definitely make getting dressed by oneself easier. Can anyone explain the workings of these, or possibly have a good picture of how they're attached and how they cover the laces? Thank-you
                                      Tania
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From h-costume-bounces@indra.com  Sat Mar 18 15:10:57 2006
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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: [h-cost] To Dye for-(was Period Dye color references
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Michael Shamansky Books
http://www.artbooks.com/wc.dll?AB~searchquick~&cart=0 - another Evil Place
where you can spend the rent, mortgage, and food money for years to come. I
was good and my potential order only came to $800.  I quietly exited before
they could see the credit cards in my wallet and _force_ me to use them.
Although that is where I finally got Moda di Firenze.

They have both English Language and non-English Language books.  Some books
like Moda that are in both languages.  I hit the button for English language
and got 1751.  Some were even in a reasonable price range.  I tried checking
to see if they were cheaper on Amazon.co.uk (Amazon.com doesn't seem to have
things like this and shipping from England really isn't that bad thanks to
the fact that Ben Franklyn didn't believe that books should have to pay
duty - unlike Europe!).  They weren't.  If the books were printed around
2000 I could sometimes find them on bookfinder.com


 Item Number: 44160
Title: The Colourful Past: Origins, Chemistry and Identification of Natural
Dyestuffs
Author: HOFENK DE GRAAF, JUDITH H
Price: $125.00
ISBN: 1873132131
Description: London: Archetype (Riggisberg: Abegg-Stiftung), 2004. 25cm.,
cloth, 396pp. illus., most in color.

Wanda
>


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From h-costume-bounces@indra.com  Sat Mar 18 15:29:15 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <8C818DE0CB1A058-1A1C-45BE@MBLK-M20.sysops.aol.com>
Subject: Re: [h-cost] Stomacher
Date: Sat, 18 Mar 2006 21:28:52 +0100
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Hi Tania,
You are talking about Elizabethan times? Stomachers would be pinned to the 
bodice´s sides. Pins like dressing pins, and they would be stucked into the 
bodice, so that they nearly dissapears and gets invissible.
As the body is made rather rigid by the pair of bodies (corsets) it wont 
sloutche, and therefore there is not any risks by using pins. Off cause you 
have to be aware that no pointed ends sticks out somewhere...........

Bjarne
----- Original Message ----- 
From: <taniampembroke@aol.com>
To: <h-costume@mail.indra.com>
Sent: Saturday, March 18, 2006 9:02 PM
Subject: [h-cost] Stomacher


>I was recently made aware of the stomacher from some previous posts. I make 
>Elizabethan costumes and though it isn't strictly period I am interested in 
>learning more about them. I don't have the luxury of a ladies maid and this 
>invention would definitely make getting dressed by oneself easier. Can 
>anyone explain the workings of these, or possibly have a good picture of 
>how they're attached and how they cover the laces? Thank-you
>                                      Tania
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Sat Mar 18 15:34:53 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] to dye for
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Not a reply to the previous mail about books, but the head`er made me think 
about a story i heard about poison dyes.
In about 1840ies i heard there was a new invention with a very bright green 
colour. They made wall hangings with this dyed silks and also it became a 
very popular colour for fashionable ball dresses. But they didnt realise 
that it was a very poisonable dye. The skin would consume the poison.
Have anybody other heard this?
It was a story i heard at Gammel Estrup where they have a room with silk 
tapestries in this collour.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] Art Hysteria
Date: Sat, 18 Mar 2006 15:43:07 -0500
To: Historical Costume <h-costume@indra.com>
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My cookie, please!
Of course I enjoyed Josephine Tey's Daughter of Time and was willing to 
be persuaded that Richard didn't kill the boys, but...
This is the first I've heard that the Princes in the Tower didn't even 
die.
This whole exercise, and it's high seriousness, reminds me of a 
"decoding" of Shakespeare's tomb inscription I once read. VERY tricky 
and elaborate!
Interesting that when the "pun" works in English, it MUST be in 
English, but when it works in French, it MUST BE in French....oh, how 
do we know which to choose?
Are there really that many "maternity gowns" in the picture? And why is 
one man's skin "waxy" by comparison instead of calling the other guy's 
skin "ruddy"?I'm particularly fond of the green design that resembles 
the veins of large animals....
Ah, well. Some people have a LOT OF TIME on their hands! Thanks for 
beguiling a bit of mine!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

On Mar 17, 2006, at 11:55 PM, E House wrote:

> Just for fun--here's an analysis of a copy of Holbein's sketch of 
> Thomas More's Family:
> http://www.holbeinartworks.org/bfourstmandtpitt.htm
> Anyone who makes it all the way through gets a cookie!
>
> -E House
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Cat Dancer <pixel@hundred-acre-wood.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: period dye color references
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On Fri, 17 Mar 2006, Kahlara wrote:

> My modern references state thus:
>
>  #1. Dandelion flowers with alum mordant produce a soft yellow, flowers with a tin mordant produce yellow, and the whole plant -roots, leaves and flowers - without mordant produces a magenta color.
>
>  #2. Dandelion flowers with tin mordant produce a golden yellow and dandelion root with an alum mordant a gold-yellow similar to what we call 'goldenrod' paper. (this one has a color chart)
>
>  I spent a few years as a R&D lab technician at a homeopathic manufacturing company. Dandelion is a great foodstuff/supplement. Good for the liver too. My dad used it in salads and for making wine.
>
>  Annette M (looking forward to finally moving into our new house where there is a lot more space for sewing and room to start experimenting with natural dyes)
>

I actually went back and poked about in the archives on the dye 
lists--Natural Dyes and SCA Natural Dyes on yahoogroups.

What I have found (marked with *)
:
*Dandelion root added to an orchil dye bath will produce magenta, 
apparently. (Su Grierson says this in her book _Color Cauldron_)

*Dandelions will make magenta *in England and Scotland* but not in the 
USA, because of the different mineral composition of the soil. I think 
that's also from the Sue Grierson source.

*There is a particular variety of red or red-seeded dandelion that will 
produce magenta.

*"Craft of the Dyer: Colour from Plants and Lichens
     Karen Casselman
     1993 (2nd ed), Dover Publications

 	 Information on the kinds of colors you can expect from a wide
 	 variety of natural dyestuffs.  And she states that she has been
 	 unable to get a reddish dye from dandelion roots (is this a myth
 	 or has anyone been able to do this?)."


*"So the dandy was NOT fushcia but NOT a waste
of time either (but what really is when you're
experimenting?)  On the Spin List, several people
confirmed my hunch that the fuschia/pink/purple
of dandelion is a myth. I'm pretty sure that N.
american dandies are the same as European.
I wonder if someone collected them from an
unusual soil type somewhere and got pink dye-
soil conditions can influence which pigments
plants produce, as can amount of direct light
vs shade, and even extreme temperatures, but
I don't know if it could influence the pigments
enough to influence their dyeing potential. ?"

*"I've read in numerous books that dandelion roots yield a magenta dye. So
far, no one I know has been able to do it.  I was told that the
magenta-yielding dandys grow in England, not in the US, but I haven't 
found
any English dyers who have been able to get magenta, either."

So the evidence for a red dye from dandelions appears to be site-specific 
and not necessarily substantiated.

Something to keep in mind when you're reading a book on natural dyeing, 
even the modern ones--are the authors merely repeating someone else's dye 
recipe, or have they actually tried this particular recipe/technique and 
can reproduce it with a reasonable amount of success?

Jenny Dean in Wild Color gives yellows and greens as the colors one can 
get from dandelions. She does not mention either the use of the roots as a 
dyestuff or any red color from the plant in any capacity.

Jim Liles (The Art and Craft of NAtural Dyeing) doesn't mention dandelions 
at all.

Pixel/Margaret
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On Sat, 18 Mar 2006, Bjarne og Leif Drews wrote:

> Not a reply to the previous mail about books, but the head`er made me think 
> about a story i heard about poison dyes.
> In about 1840ies i heard there was a new invention with a very bright green 
> colour. They made wall hangings with this dyed silks and also it became a 
> very popular colour for fashionable ball dresses. But they didnt realise that 
> it was a very poisonable dye. The skin would consume the poison.
> Have anybody other heard this?
> It was a story i heard at Gammel Estrup where they have a room with silk 
> tapestries in this collour.
>
> Bjarne
>

In his book Jim Liles (The Art and Craft of Natural Dyeing) mentions 
Scheele's green--he references J.N.Napier (A Manual of Dyeing and Dyeing 
Receipts, 1875) as complaining that Scheele's green poisoned the maker of 
the dye, the winders of dyed yarn, and the person using the dyed article.

He says it was discovered in 1770, and that Napoleon and a number of 
his servants in exile suffered from arsenic poisoning possibly from the 
wallpaper.

He also mentiones lead chromate yellow, that it is poisonous, and dates it 
to 1840, but he doesn't say whether it's just the dyestuff itself that is 
poisonous or if the dyed articles are also poisonous.

Pixel/Margaret
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Hi,
Many thanks for your refferences. So it is true.
I wasnt sure if it was just another myth or a true story.
Bjarne

----- Original Message ----- 
From: "Cat Dancer" <pixel@hundred-acre-wood.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 18, 2006 10:39 PM
Subject: Re: [h-cost] to dye for


>
> On Sat, 18 Mar 2006, Bjarne og Leif Drews wrote:
>
>> Not a reply to the previous mail about books, but the head`er made me 
>> think about a story i heard about poison dyes.
>> In about 1840ies i heard there was a new invention with a very bright 
>> green colour. They made wall hangings with this dyed silks and also it 
>> became a very popular colour for fashionable ball dresses. But they didnt 
>> realise that it was a very poisonable dye. The skin would consume the 
>> poison.
>> Have anybody other heard this?
>> It was a story i heard at Gammel Estrup where they have a room with silk 
>> tapestries in this collour.
>>
>> Bjarne
>>
>
> In his book Jim Liles (The Art and Craft of Natural Dyeing) mentions 
> Scheele's green--he references J.N.Napier (A Manual of Dyeing and Dyeing 
> Receipts, 1875) as complaining that Scheele's green poisoned the maker of 
> the dye, the winders of dyed yarn, and the person using the dyed article.
>
> He says it was discovered in 1770, and that Napoleon and a number of his 
> servants in exile suffered from arsenic poisoning possibly from the 
> wallpaper.
>
> He also mentiones lead chromate yellow, that it is poisonous, and dates it 
> to 1840, but he doesn't say whether it's just the dyestuff itself that is 
> poisonous or if the dyed articles are also poisonous.
>
> Pixel/Margaret
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Sun, 19 Mar 2006 12:31:27 +1300
From: Jennifer Geard <geard@verso.org>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Hi All,

On Tue, 14 Mar 2006 04:50, Kate M Bunting wrote:
> We've debated this topic more than once and the general consensus seems to
> be that chemises/shifts before the 18th century had stitched-down gathers,
> not drawstrings.

I'm well behind and paying only another flying visit, but for what _might_ be 
another take on gathered chemise necklines, have a look at Raphael's "La 
Donna Velata" (http://gallery.euroweb.hu/html/r/raphael/5roma/3/03velata.html 
- click image for larger version). Are the black bows with aglets functional 
or purely decorative? 

Ten years ago I made a version of this assuming the bow laces were functional 
and that they served to gather the camisa neckline. Using very fine fabric, 
separate gathering cords for the front, back and shoulders, and the tightest 
channel I could sew for the laces [*] I managed to make something that 
captured the "look". It's quite possibly a fake, but if so it's a good enough 
fake that it made me wonder whether this might have been the way the 
gathering was achieved, even if it was then secured to a woven band.

Cheers,
  Jennifer

[*] The channel was made by finishing the neck edge with a casing the height 
of the gathering cord + ruffle, threading the gathering cord, tamping the 
cord down against the seam and then sewing the second seam to separate the 
channel from the ruffle. I was doing a proof-of-concept garment, so I used a 
tubular cord (piping cord) to give something to push against and a zipper 
foot to push against it to get the gathering channel snug to the cord. The 
combination of the very fine fabric and the firm fit of the laces in their 
channels means you get a fairly stable, very finely-pleated effect with a 
small ruffle above the gathering. The four laces mean there are stop-points 
at the front and back of the armpits, controlling any tendency for the 
fullness to gravity-feed to the centre front and back.

I think this technique is a definite improvement on using a single line of 
stitching to gather the neck seam, which tends to lead to a very floppy 
ruffle.  I'm in two minds about whether it's an improvement on actually 
pleating to a band, although to my eye it gives the effect I see in the 
painting of being more pleat-like than usual gathering but less regimented 
than actual pleating. It's also _much_ simpler and quicker, and makes the 
garment adjustable to suit different necklines (or bodies).

Discussion welcome. I realise the orthodoxy these days is that necklines of 
this time weren't gathered, but this variant makes me wonder. And I've now 
written a footnote longer than my main message. <grin> JLG
-- 
Jennifer Geard
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Subject: [h-cost] How much I love this list :Was: to dye for
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I know this may sound kind of sappy, but I really love this list. The 
topics and tangents we talk about are just wonderful. 
I am an engineer and I work with some pretty boring people.  You guys 
keep my creative juices alive.

Thanks!

Sg

Bjarne og Leif Drews wrote:

> Not a reply to the previous mail about books, but the head`er made me 
> think about a story i heard about poison dyes.
> In about 1840ies i heard there was a new invention with a very bright 
> green colour. They made wall hangings with this dyed silks and also it 
> became a very
> Bjarne
>

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From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] to dye for
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At a Victorian Ball a few years ago someone's daughter wore an actual
antique 1860's dress, and all my friends and I could think of was what
if it's "arsenic" green!  We warned the family not to wear it again
just in case....

Katy

On 3/18/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
> Not a reply to the previous mail about books, but the head`er made me think
> about a story i heard about poison dyes.
> In about 1840ies i heard there was a new invention with a very bright green
> colour. They made wall hangings with this dyed silks and also it became a
> very popular colour for fashionable ball dresses. But they didnt realise
> that it was a very poisonable dye. The skin would consume the poison.
> Have anybody other heard this?
> It was a story i heard at Gammel Estrup where they have a room with silk
> tapestries in this collour.
>
> 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
>


--
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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But it is interesting, like those puzzle books of a few years back, which
promised a valuable prize for the clever first person to find it. I saw an
analysis of how the winner got his prize and it was every bit as convoluted
as this painting's analysis.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sue Clemenger
Sent: Saturday, March 18, 2006 5:51 AM
To: Historical Costume
Subject: Re: [h-cost] Art Hysteria


Oh. My. Gaaaaawd.  It's an English version of that idiotic novel, _The
DaVinci Codes_.....same sort of bad history and art criticism. --Sue, still
sputtering through her breakfast oatmeal ;o)

----- Original Message -----
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 17, 2006 9:55 PM
Subject: [h-cost] Art Hysteria


> Just for fun--here's an analysis of a copy of Holbein's sketch of 
> Thomas More's Family: 
> http://www.holbeinartworks.org/bfourstmandtpitt.htm
> Anyone who makes it all the way through gets a cookie!
>
> -E House
>
> _______________________________________________
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> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume

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	Sat, 18 Mar 2006 20:02:10 PST
Date: Sat, 18 Mar 2006 20:02:10 -0800 (PST)
From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Stomacher  --a photo demo
To: Historical Costume <h-costume@indra.com>
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 Hi,
 Did you check out this?
 http://www.ninyamikhaila.com/Princesselizabeth.html

this shows the bodice part without the
stomacher/placard pinned on.
 The visual helps alot, I know I had a hard time
wrapping my brain around how the gowns went on, as I
kept thinking they laced up the back.
This photo group made it all clear to me.
melody


--- taniampembroke@aol.com wrote:

> I was recently made aware of the stomacher from some
> previous posts. I make Elizabethan costumes and
> though it isn't strictly period I am interested in
> learning more about them. I don't have the luxury of
> a ladies maid and this invention would definitely
> make getting dressed by oneself easier. Can anyone
> explain the workings of these, or possibly have a
> good picture of how they're attached and how they
> cover the laces? Thank-you
>                                       Tania
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: Edith Reardon <edithreardon@yahoo.ca>
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Mine said Feb. 21 still no book Brin

"Lonnie D. Harvel" <ldh@ece.gatech.edu> wrote:  
I ordered the Tudor Tailor. Still waiting on it. They said "March 2006" 
and it is still March...

E House wrote:

>Has anyone order and actually received either of these two books?
>
> 
>
>"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
>ISBN: ?
>
> 
>
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Subject: Re: [h-cost] Stomacher  --a photo demo
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Quoting Melody Watts <celticredhead2002@yahoo.com>:

> Hi,
> Did you check out this?
> http://www.ninyamikhaila.com/Princesselizabeth.html
>
> this shows the bodice part without the
> stomacher/placard pinned on.
> The visual helps alot, I know I had a hard time
> wrapping my brain around how the gowns went on, as I
> kept thinking they laced up the back.
> This photo group made it all clear to me.

You know what lightbulb went on for me?  She even says so in the essay
-- that's *why* gowns were side-back laced -- not because the bodice
fit better, but so that you could have an unbroken neckline!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] Re: monk underwear
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On Mar 17, 2006, at 12:06 AM, Lena wrote:

>
> --- Heather Rose Jones <heather.jones@earthlink.net>
> wrote:
> <snip>
>>
>> There's an even better example in Walter Map's "De
>> Nugis Curialium"
>> where he tells a story of a monk whose order
>> disdained underpants as
>> being too luxurious, so that when he took a tumble
>> in the street he
>> exposed his ... parts for all and sundry to see.
>> Walter gives the
>> moral of the story as something roughly equivalent
>> to "sometimes
>> discretion is the better part of asceticism".
>>
>> Heather
>
> Do you know where in De Nugis Curialium this story is?
> I've been wanting to follow up this reference for
> quite a while, but the book is reference only, and
> rather thick, so I can't justify an entire photocopy.

In the 1983 Clarendon Press edition edited by M.R. James, I _think_  
it's in the section numbered i.25 -- the problem is, the excerpt that  
I can find in my files at the moment is only bits and pieces with  
specifically Welsh reference.  I think the item I'm remember about  
the Cisterians and underpants is the one starting at the bottom of  
page 101 of this edition, but since I'm missing the next page I can't  
confirm it.  I really do need to take the trouble to track down my  
own copy.  The problem is I'm holding out for a bilingual edition  
with facing page translation like the James edition, and I haven't  
run across one yet.

Heather

--
Heather Rose Jones
heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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Hi,
I should not have answered as i did, obviously they did it in a different 
way than in my period.
How long time did they have this lacing in the side bodice? Anybody knows?

Bjarne

----- Original Message ----- 
From: "Melody Watts" <celticredhead2002@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 19, 2006 5:02 AM
Subject: Re: [h-cost] Stomacher --a photo demo


> Hi,
> Did you check out this?
> http://www.ninyamikhaila.com/Princesselizabeth.html
>
> this shows the bodice part without the
> stomacher/placard pinned on.
> The visual helps alot, I know I had a hard time
> wrapping my brain around how the gowns went on, as I
> kept thinking they laced up the back.
> This photo group made it all clear to me.
> melody
>
>
> --- taniampembroke@aol.com wrote:
>
>> I was recently made aware of the stomacher from some
>> previous posts. I make Elizabethan costumes and
>> though it isn't strictly period I am interested in
>> learning more about them. I don't have the luxury of
>> a ladies maid and this invention would definitely
>> make getting dressed by oneself easier. Can anyone
>> explain the workings of these, or possibly have a
>> good picture of how they're attached and how they
>> cover the laces? Thank-you
>>                                       Tania
>> _______________________________________________
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>
>
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>
> Thanks Bjarne, but in the context this is definitely a "dress" of some 
> kind.
> One of several references--"We have retired to dress for  dinner.  Shall I
> tell you our dresses? I hear you say "Yes."  Mrs. P.  wears a brocade; 
> Cousin
> M. her pink Great-Coat, and I my pink."
>
> Ann Wass
>
Anne,

Have you thought about trying to contact Linda Baumgarten, the author of these books? If anyone would know, she is probably the person.

http://www.amazon.com/exec/obidos/search-handle-form/ref=s_sf_b_as/104-8506690-0966322

I believe that she is the Curator of Textiles at Colonial Williamsburg. You may even be able to speak to her on the phone. :-) ( see below link )

http://www.history.org/search/contact.cfm

Let us know, if you do find out? We're all intrigued now, I'm sure.

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] German water--attn dyers
Date: Sat, 18 Mar 2006 13:35:42 -0800
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I lived in Germany for 16 years from 1976 to 1992.  Everything that could
bleed did.  However it was because of the German washer I used, not the
water.  The washer heated the water inside itself.  It really didn't have a
Cold setting such as Americans are used to.  Since we were there with the US
forces, I finally got a Whirlpool washer from someone who had shipped it
over and didn't want to ship it back.  Hooked it up to the water supply,
used American laundry soap (Tide, whatever) and never had the bleeding
problem again.

I kept the German Washer for when I was trying to get something really clean
and white (hot water and chlorine bleach), or to dye fabric in.

Regina
>  	I have no idea of the effects of fluoride on dye or how close it
> is to the stuff in water but you can get fluoride tablets or drops from
> dentists.  Water where I live is not fluoridated either but I
> don't notice
> the kind of bleeding you mention.
>
> lisa


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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On Sun, 19 Mar 2006, Jennifer Geard wrote:

> Hi All,
> 
> On Tue, 14 Mar 2006 04:50, Kate M Bunting wrote:
> > We've debated this topic more than once and the general consensus seems to
> > be that chemises/shifts before the 18th century had stitched-down gathers,
> > not drawstrings.
> 
> I'm well behind and paying only another flying visit, but for what
> _might_ be another take on gathered chemise necklines, have a look at
> Raphael's "La Donna Velata"
> (http://gallery.euroweb.hu/html/r/raphael/5roma/3/03velata.html -
> click image for larger version). Are the black bows with aglets
> functional or purely decorative?
> 
> Ten years ago I made a version of this assuming the bow laces were
> functional and that they served to gather the camisa neckline. Using
> very fine fabric, separate gathering cords for the front, back and
> shoulders, and the tightest channel I could sew for the laces [*] I
> managed to make something that captured the "look". It's quite
> possibly a fake, but if so it's a good enough fake that it made me
> wonder whether this might have been the way the gathering was
> achieved, even if it was then secured to a woven band.

I remember this one! We had a great discussion of it in May 2004. I've
saved a post I wrote then, which I'll append below.

ISTR there were lots of different readings of the image, of which mine is
only one. Probably worth going back to the archives to read them all, if
this image interests you.

--Robin


Date: Thu, 20 May 2004 13:16:08 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Drawstring chemise

On Thu, 20 May 2004, Katie Pleasance wrote:

> If you click on the picture enough times you get a *very* enlarged
> image that shows much detail. Look at the bow on the right side of the
> picture.  Look at the left-hand aiglette. Follow that cord back to the
> bow. Where the cord intersects the bow is a section of cord jutting to
> the left and disappearing into the casing. The casing opening is even
> rounded where the round cord enters the casing. To me this is evidence
> of a casing with a cord coming out of the casing and the cord
> (drawstring) being tied in a bow. The cord is a round cord as would be
> used as a drawstring. The bow looks functional rather than decorative.

This isn't my period, but I've learned to look for multiple possibilities,
and I'm pretty suspicious of drawstrings at this date.

I do agree that the bow is functional. And it's also clear that the
chemise edge breaks at the point of the bow, so it's discontinuous there.  
But it's also worth noting that the aiglettes would never pass through the
tiny channel that runs along the top edge of the chemise, below the
ruffled bit.

It's possible that it's a drawstring that was put in first, with the
aiglettes added later. But I also wonder if the bow is made of a cord of
about five or six inches long, passed through an eyelet on each side of
the break at neck edge. Such fastenings (IIRC) appear on Elizabethan
shirts, or so I remember reading on this list.

It's also worth noting that the bows are placed perfectly for nursing
openings, meaning we might be looking at a means of closing slits that run
vertically down from the bow points. The fullness of the chemise would
keep the slits from opening up in the space between dress and neckline.

Not a proof, just another point to consider.

> The pleats are a decorative edge trimming the neckline. The pleats
> attach to the body of the chemise at the top of the casing.

Why do you think that? I would think that such an attachment would add
quite a bit of bulk in the seam, which I'm not seeing. The ruffled bit
could just as easily be the top part of the chemise fabric whether you're
assuming a casing or not, particularly if the casing is made by putting a
ribbon along the back of the fabric and stitching top and bottom to form a
channel. But I think it still looks more like two lines of stitching
holding the chemise pleats in place.

Remember also that the artist would paint his impression of the look,
meaning we probably won't see individual stitches if they are very small.
It also means he may not have had the remotest idea of how the bow was
fastened in, but only painted what he saw -- the bow interrupting the line
of the chemise top and disappearing into the chemise fabric at each side.

--Robin


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This picture was presented on another list as "proof" that drawstrings were
done. I disagree.
Note that the cording is thicker then the area where the cord is allegedly
to be going through.
The fact that the cording is black is the decorative side and the cord used
to close the opening makes it functional. There are a few pictures that show
multiple opening in a camicia.
http://realmofvenus.renaissancewoman.net/wardrobe/PortraitOfALady1530.jpg

The La Donna Velata painting does not show to me proof of drawstring.
This is not saying that it wasn't done but that the painting is not proof.

De



-----Original Message-----
I'm well behind and paying only another flying visit, but for what _might_
be
another take on gathered chemise necklines, have a look at Raphael's "La
Donna Velata"
(http://gallery.euroweb.hu/html/r/raphael/5roma/3/03velata.html
- click image for larger version). Are the black bows with aglets functional
or purely decorative?

(snip)
--
Jennifer Geard
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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
To: Historical Costume <h-costume@indra.com>
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Very interesting, when you click it up to 200% you can
see the string end entering the channel/casing, but I
was wondering if it was only 2 pieces of string
involved.... 1 very long one for the channel across
the back of the shoulders to the area above the collar
bones and a shorter run directly across the front of
the bust? The agilets would prevent the cord from
slipping in the channel and getting "lost"
  Are the black
 bows with aglets functional 
 or purely decorative? 
 When you say "the 4 laces make stop points," do you
mean there are 4 laces total involved or 4 "ends",2
tying ends for each  bows ? 
 Have never seen this type of neck treatment and it
opens alot of options....
  Melody

<SNIP>
--- Jennifer Geard <geard@verso.org> wrote:
>  
>...another take on gathered chemise necklines, have a
> look at Raphael's "La 
> Donna Velata"
>
(http://gallery.euroweb.hu/html/r/raphael/5roma/3/03velata.html
> 
> - click image for larger version). 

[*]   The four laces
> mean there are stop-points 
> at the front and back of the armpits, controlling
> any tendency for the 
> fullness to gravity-feed to the centre front and
> back.
> 
> 
> Discussion welcome. 
> <grin> JLG
> -- 
> Jennifer Geard
> _______________________________________________


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] semi-OT: waiting for books
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Status: RO

So what's the implication here?  That the seller is dishonest or that 
the publisher's printer is late?  Or that media mail is slow?

If their printer is late (and book printers usually are late, by some 
weeks), there is nothing you, a retailer, or in many cases the publisher 
can do about it. Book printers often work on the schedule most 
convenient for themselves.

If the book was shipped by media mail, which can take a month or more, 
there is nothing much anyone can do about it after the book has been 
shipped.  The post office also tends to work on the schedule most 
convenient for themselves.

There is also nothing the members of h-costume can do about your order. 
  Why not just ask whoever you ordered the book from--the retailer or 
the publisher?

And what's the rush anyway?  You preordered a book knowing it was not 
immediately available.

Fran
Lavolta Press
http://www.lavoltapress.com



Edith Reardon wrote:
> Mine said Feb. 21 still no book Brin
> 
> "Lonnie D. Harvel" <ldh@ece.gatech.edu> wrote:  
> I ordered the Tudor Tailor. Still waiting on it. They said "March 2006" 
> and it is still March...
> 
> E House wrote:
> 
> 
>>Has anyone order and actually received either of these two books?
>>
>>
>>
>>"The Tudor Tailor" by Ninya Mikhaila et al (pre-ordered from website)
>>ISBN: ?
>>
>>
>>
> 
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> 				
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Subject: RE: [h-cost] to dye for
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We still have that poison green dye--they soak wood in it to keep it free
from termites.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Saturday, March 18, 2006 12:35 PM
To: h-costume@indra.com
Subject: [h-cost] to dye for


Not a reply to the previous mail about books, but the head`er made me think 
about a story i heard about poison dyes.
In about 1840ies i heard there was a new invention with a very bright green 
colour. They made wall hangings with this dyed silks and also it became a 
very popular colour for fashionable ball dresses. But they didnt realise 
that it was a very poisonable dye. The skin would consume the poison. Have
anybody other heard this? It was a story i heard at Gammel Estrup where they
have a room with silk 
tapestries in this collour.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: [h-cost] Can you help me find a similar fabric?
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My daughter loves this fabric at 
http://www.ninyamikhaila.com/images/C16th/Eliz2005.jpg . Does anyone 
know where I can find something similar and not too expensive?
Thanks, Aylwen
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <441B5900.5030306@lavoltapress.com>
	<1076.67.169.138.79.1142699272.squirrel@webmail.inreach.com>
Subject: Re: [h-cost] Early 19th century French term
Date: Sun, 19 Mar 2006 09:03:01 -0500
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The translation sure sound like the tool I got in January...online.
Kathleen
----- Original Message ----- 
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 18, 2006 11:27 AM
Subject: Re: [h-cost] Early 19th century French term


>
> > Has anyone run across a reference to some sort of early 19th-century
> > tool for pinking fabric called an arrache-pièce à dents?  (I'm not sure
> > the accents will come through in the email you receive, but I tried.
> > The only modern reference I've found to this terms to a tool called a
> > "gear puller" in English, and this is certainly not that.)  If so can
> > you point me to any more info?
>
> As near as I can translate it (from my 4+ years of high school french) the
> literal translation is a "piece puller with teeth".  So your modern
> reference is very close to the french term.
>
> Could it be like the antique pinking tools you can see on EBay where you
> turn a crank and run the fabric through to pink the edge?
>
> Hope that helps...
>
> diana
>
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
>
> "Become the change you want to see in the world."
> --Ghandi
>
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Can you help me find a similar fabric?
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At 10:42 19/03/2006, you wrote:
>My daughter loves this fabric at 
>http://www.ninyamikhaila.com/images/C16th/Eliz2005.jpg . Does anyone 
>know where I can find something similar and not too expensive?
>Thanks, Aylwen


Why don't you e-mail Ninya Mikhaila and ask her a) where she got what 
she used, and b) does she know a source for similar fabrics. She is 
usually very helpful.

Otherwise you could look here http://www.mperkins.com/index.htm but I 
don't remember him having anything like this. Also type into whatever 
search engine you use, "Church Fabrics." That usually produces big 
brocade patterns like this.

Suzi 


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Can you help me find a similar fabric?
Date: Sun, 19 Mar 2006 13:18:09 -0400
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There is a merchant on EBay that sell church brocades.  His prices are 
reasonable, and the fabric is  yummy.  Check fibre contents though, some are 
highly polyester and may not be suitable for your project.  We found some 
good blends that are nice and heavy and have really good drape for period 
clothing.

Kelly

> My daughter loves this fabric at 
> http://www.ninyamikhaila.com/images/C16th/Eliz2005.jpg . Does anyone know 
> where I can find something similar and not too expensive?
> Thanks, Aylwen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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From: Lavolta Press <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Early 19th century French term
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My reference comes from almost a century earlier than the crank pinker 
you bought--I checked the picture of yours when you bought it. Do you 
have a picture of a crank pinker for home use like the one you bought 
but from the early 19th century/Regency period?  All the other 
references I have from the same document are for an emporte-pièce, that 
is a punch, for pinking. From context the arrache-pièce à dents is 
something that pinks both edges of a strip of material, but I do not 
know whether it is a two-sided punch or some other kind device.

Thanks,

Fran
Lavolta Press
http://www.lavoltapress.com

Lloyd Mitchell wrote:

> The translation sure sound like the tool I got in January...online.
> Kathleen
>
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From: Cin <cinbarnes@gmail.com>
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Subject: [h-cost] Re: 17th c doublet cuff closure
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Bjarne, Carmen & MikeT,
Thanks so much for your design & research help.  I think I'm going to
go with hidden hooks and a close fitting wrist to mimic the
"invisible" closures (presumably hooks) at the CF on the Carvaggio. 
There's no way my guy will put up with pins at the wrist... tho an
interesting piece of trivia!
Thanks much for your help, y'all.  I'll check out the Stockholm online
photos, too.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Can you help me find a similar fabric?
Date: Sun, 19 Mar 2006 12:41:45 -0500
To: Historical Costume <h-costume@indra.com>
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Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 19, 2006, at 12:02 PM, Suzi Clarke wrote:

> At 10:42 19/03/2006, you wrote:
>> My daughter loves this fabric at 
>> http://www.ninyamikhaila.com/images/C16th/Eliz2005.jpg . Does anyone 
>> know where I can find something similar and not too expensive?
>> Thanks, Aylwen
>
>
> Why don't you e-mail Ninya Mikhaila and ask her a) where she got what 
> she used, and b) does she know a source for similar fabrics. She is 
> usually very helpful.
>
> Otherwise you could look here http://www.mperkins.com/index.htm but I 
> don't remember him having anything like this. Also type into whatever 
> search engine you use, "Church Fabrics." That usually produces big 
> brocade patterns like this.
>
> Suzi
>
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From: "Lonnie D. Harvel" <ldh@ece.gatech.edu>
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Subject: Re: [h-cost] semi-OT: waiting for books
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Well,

I don't think there is any problem. In my case, as I said, the book is 
not even late. My voucher says it will be mailed when the First Editions 
come in (expected by the end of March). Given processing and mailing 
time, I wouldn't be concerned until the end of May comes along and I 
haven't heard anything.

Not worried, just impatient for what looks like a wonderful resource! ;)

Lonnie

Lavolta Press wrote:

> So what's the implication here?  That the seller is dishonest or that 
> the publisher's printer is late?  Or that media mail is slow?
>
>
>>
>>
>> "Lonnie D. Harvel" <ldh@ece.gatech.edu> wrote:  I ordered the Tudor 
>> Tailor. Still waiting on it. They said "March 2006" and it is still 
>> March...
>>
>>
>
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To: "Historical Costume" <h-costume@indra.com>
References: <441B5900.5030306@lavoltapress.com>	<1076.67.169.138.79.1142699272.squirrel@webmail.inreach.com><005b01c64b5d$d68acc20$945083d1@rmitchellras>
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Subject: Re: [h-cost] Early 19th century French term
Date: Sun, 19 Mar 2006 13:10:50 -0500
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Status: RO

Do I recall a thread( that might now be in the archives) when the topic of
pinking became a lively discussion of just such "punchers" that some of the
people who do 18th C and maybe earlier were using...or looking for? I recall
that someone had an earlier tool that others were suggesting that maybe
someone doing metal crafting might copy for the benefit of the members who
might want one.
I guess that I had not seen the referent for the tool presently in question.
Alas...
Mine for the 19th C is proving to be most useful.  I sure am glad I spotted
it when I did.  One that would do both sides at once would be an even Bigger
help.

Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 19, 2006 12:18 PM
Subject: Re: [h-cost] Early 19th century French term


> My reference comes from almost a century earlier than the crank pinker
> you bought--I checked the picture of yours when you bought it. Do you
> have a picture of a crank pinker for home use like the one you bought
> but from the early 19th century/Regency period?  All the other
> references I have from the same document are for an emporte-pièce, that
> is a punch, for pinking. From context the arrache-pièce à dents is
> something that pinks both edges of a strip of material, but I do not
> know whether it is a two-sided punch or some other kind device.
>
> Thanks,
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> Lloyd Mitchell wrote:
>
> > The translation sure sound like the tool I got in January...online.
> > Kathleen
> >
> _______________________________________________
> 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] Early 19th century French term
References: <441B5900.5030306@lavoltapress.com>	<1076.67.169.138.79.1142699272.squirrel@webmail.inreach.com><005b01c64b5d$d68acc20$945083d1@rmitchellras>	<441D925E.6060504@lavoltapress.com>
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Status: RO

My question is largely whether this two-sided pinker _is_ a punch.  It 
is apparently a different tool from the emporte-piece.  I don't recall 
any 18th-century or Regency H-costume member commenting on a two-sided 
pinker. But if anyone knows of one--and especially if it was called a 
arrache-pièce à dents--I'd be glad to know.

They had the base technology to develop a crank pinker for home use in 
the early 19th century, but whether they did develop one is another 
question.

Fran
Lavolta Press
http://www.lavoltapress.com


Lloyd Mitchell wrote:

> Do I recall a thread( that might now be in the archives) when the topic of
> pinking became a lively discussion of just such "punchers" that some of the
> people who do 18th C and maybe earlier were using...or looking for? I recall
> that someone had an earlier tool that others were suggesting that maybe
> someone doing metal crafting might copy for the benefit of the members who
> might want one.
> I guess that I had not seen the referent for the tool presently in question.
> Alas...
> Mine for the 19th C is proving to be most useful.  I sure am glad I spotted
> it when I did.  One that would do both sides at once would be an even Bigger
> help.
> 
> Kathleen
> ----- Original Message ----- 
> From: "Lavolta Press" <fran@lavoltapress.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, March 19, 2006 12:18 PM
> Subject: Re: [h-cost] Early 19th century French term
> 
> 
> 
>>My reference comes from almost a century earlier than the crank pinker
>>you bought--I checked the picture of yours when you bought it. Do you
>>have a picture of a crank pinker for home use like the one you bought
>>but from the early 19th century/Regency period?  All the other
>>references I have from the same document are for an emporte-pièce, that
>>is a punch, for pinking. From context the arrache-pièce à dents is
>>something that pinks both edges of a strip of material, but I do not
>>know whether it is a two-sided punch or some other kind device.
>>
>>Thanks,
>>
>>Fran
>>Lavolta Press
>>http://www.lavoltapress.com
>>
>>Lloyd Mitchell wrote:
>>
>>
>>>The translation sure sound like the tool I got in January...online.
>>>Kathleen
>>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <20060319040805.2105.qmail@web52213.mail.yahoo.com>
	<441CDD9A.3000005@lavoltapress.com>
Subject: Re: [h-cost] semi-OT: waiting for books
Date: Sun, 19 Mar 2006 12:30:12 -0600
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Well, my hurry on the first order is that the book has been released, and 
was released about 7 weeks ago; the seller claims it should arrive within 
2-4 weeks, which means _my_ individual order is 3-5 weeks late.  I know 
others have gotten their copy; this leads me to think that something has 
gone wrong with _my_ order, and before I call the seller up to ask what's 
wrong, it seemed reasonable to try to find out if _I'm_ the only one with 
this problem, or if it's a problem everyone else is having.

Since I was already asking about the one book, it seemed like a good time to 
ask about the other, which--as I stated in my email--I know is NOT late; 
it's merely eagerly expected.  Based on what is on the writers'/publisher's 
website, mid-March is about the earliest it could have arrived; I posted 
about this in the hopes that those who lived closest to the mailing point 
might already have gotten their books, which would have meant that I, here 
in the US, was within a week or two of receiving my copy. I am not surprised 
or upset to discover that no one else has gotten their copy; I am merely 
better informed, having asked and been answered.

I realize that this could be a touchy subject for you, but I think you're 
misinterpreting eager expectation as anger, which is no way involved--not 
even on the overdue book, and certainly not in this post.  My original post 
was a request for information; not a complaint.

-E House

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From: Lavolta Press <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] semi-OT: waiting for books
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> 
> I realize that this could be a touchy subject for you,

Why?  I don't sell books before I get them in (although it is a common 
practice, and there is nothing wrong with it), nor do I get many 
complaints about late arrivals.  I was merely trying to explain how the 
book industry works--which is about all you can expect from a post to 
people who know nothing about your order.  There is no need to interpret 
_my_ repsonses as anger.  I have nothing to do with either of these books.

Fran
Lavolta Press
htttp://www.lavoltapress.com
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From h-costume-bounces@indra.com  Sun Mar 19 14:21:38 2006
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Subject: Re: [h-cost] Early 19th century French term
Date: Sun, 19 Mar 2006 14:23:16 -0500
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I found it interesting when mine arrived; I compared it to a pre 1850s
sewing machine I had the opportunity to study and the thought came to me
that once the mechanization of the sewing machine was accomplished , how
rapidly some of the same technology would be accommodated to other sewing
room tasks.  Pinking would certainly have been one of them...Then again,
mayhap the technology got applied in the opposite order?
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 19, 2006 1:22 PM
Subject: Re: [h-cost] Early 19th century French term


> My question is largely whether this two-sided pinker _is_ a punch.  It
> is apparently a different tool from the emporte-piece.  I don't recall
> any 18th-century or Regency H-costume member commenting on a two-sided
> pinker. But if anyone knows of one--and especially if it was called a
> arrache-pièce à dents--I'd be glad to know.
>
> They had the base technology to develop a crank pinker for home use in
> the early 19th century, but whether they did develop one is another
> question.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
>
> Lloyd Mitchell wrote:
>
> > Do I recall a thread( that might now be in the archives) when the topic
of
> > pinking became a lively discussion of just such "punchers" that some of
the
> > people who do 18th C and maybe earlier were using...or looking for? I
recall
> > that someone had an earlier tool that others were suggesting that maybe
> > someone doing metal crafting might copy for the benefit of the members
who
> > might want one.
> > I guess that I had not seen the referent for the tool presently in
question.
> > Alas...
> > Mine for the 19th C is proving to be most useful.  I sure am glad I
spotted
> > it when I did.  One that would do both sides at once would be an even
Bigger
> > help.
> >
> > Kathleen
> > ----- Original Message ----- 
> > From: "Lavolta Press" <fran@lavoltapress.com>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Sunday, March 19, 2006 12:18 PM
> > Subject: Re: [h-cost] Early 19th century French term
> >
> >
> >
> >>My reference comes from almost a century earlier than the crank pinker
> >>you bought--I checked the picture of yours when you bought it. Do you
> >>have a picture of a crank pinker for home use like the one you bought
> >>but from the early 19th century/Regency period?  All the other
> >>references I have from the same document are for an emporte-pièce, that
> >>is a punch, for pinking. From context the arrache-pièce à dents is
> >>something that pinks both edges of a strip of material, but I do not
> >>know whether it is a two-sided punch or some other kind device.
> >>
> >>Thanks,
> >>
> >>Fran
> >>Lavolta Press
> >>http://www.lavoltapress.com
> >>
> >>Lloyd Mitchell wrote:
> >>
> >>
> >>>The translation sure sound like the tool I got in January...online.
> >>>Kathleen
> >>>
> >>
> >>_______________________________________________
> >>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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>

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Subject: Re: [h-cost] "Great Coat"
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In a message dated 3/19/2006 9:35:37 A.M. Eastern Standard Time,  
Joannah@sluggy.net writes:

Have you  thought about trying to contact Linda Baumgarten, the author of 
these books?  If anyone would know, she is probably the  person.

http://www.amazon.com/exec/obidos/search-handle-form/ref=s_sf_b_as/104-8506690
-0966322

I  believe that she is the Curator of Textiles at Colonial Williamsburg. You 
may  even be able to speak to her on the phone. :-) ( see below link  )

http://www.history.org/search/contact.cfm

Let us know, if you  do find out? We're all intrigued now, I'm sure.



Thanks, yes, I know Linda and have thought about contacting her.   
(Unfortunately, even she was not able to help clear up one of my other  mysteries, which 
still remains so.)
 
Ann Wass
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From: Lavolta Press <fran@lavoltapress.com>
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Subject: Re: [h-cost] Early 19th century French term
References: <441B5900.5030306@lavoltapress.com>	<1076.67.169.138.79.1142699272.squirrel@webmail.inreach.com><005b01c64b5d$d68acc20$945083d1@rmitchellras>	<441D925E.6060504@lavoltapress.com><002a01c64b80$756099c0$935083d1@rmitchellras>	<441DA168.5010106@lavoltapress.com>
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Just because you have a technology, or the potential for it, does not 
mean people were using it for that purpose at that time. A cranked 
pinker in the early 19th-century for home use is a technological 
possibility, but so is a two-sided punch. I was hoping someone on the 
list had definite info.

Thanks,

Fran
Lavolta Press
http://www.lavoltapress.com

Lloyd Mitchell wrote:
and the thought came to me
> that once the mechanization of the sewing machine was accomplished , how
> rapidly some of the same technology would be accommodated to other sewing
> room tasks.  Pinking would certainly have been one of them...Then again,
> mayhap the technology got applied in the opposite order?
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Subject: [h-cost] painting references needed
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Greetings!

I am looking for pointers to online paintings (or woodcuts, etc.) of 
Polish, Russian, and Eastern European clothing from 13th century through 
the 16th century.  References to books would be OK as well, I can check 
to see if the library has them or can borrow them.

Thanks! Cheers!
Lonnie

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One that I'm REALLY eager to get is the one on the Oseberg textiles. 
Supposedly it's at the printers and due out sometime in May according to 
(someone else's reading of) this article:
         http://www.aftenposten.no/fakta/innsikt/article1248828.ece

Unfortunately, I don't read Norwegian and the translation engines are a bit 
limited., so I'm taking their word for it.  Despite extensive searches on 
the Internet, I cannot find an ISBN or even a title of it though..and I get 
no replies to emails to the Viking Ship Museum.

Beth Matney 

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Fred Struthers of R. L. Shep gets in a lot of foreign publications and 
is usually interested in hearing about new ones of interest to 
costumers.  In other words, if he thinks some other customers will want 
it, in addition to you, he may well stock it. Fred's email address is 
fsbks@mcn.org.

Fran
Lavolta Press
http://www.lavoltapress.com

Beth and Bob Matney wrote:
> One that I'm REALLY eager to get is the one on the Oseberg textiles. 
> Supposedly it's at the printers and due out sometime in May according to 
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Subject: [h-cost] Tudor Tailor Book update and Fabric source
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Status: RO

Posted on behalf of My Lady's Wardrobe, who seems unable to post at present.


>Hi,
>
>TUDOR TAILOR BOOK deliveries:
>Due to promoting "The Tudor Tailor" this weekend 
>at "The Original Re-Enactor's Fayre" and also 
>Kentwell Hall (both in the UK), Ninya was 
>actually staying with me in Suffolk. My husband 
>Edmund has regularly commissioned gorgeous 
>Elizabeth and Tudor suits of clothing from her 
>and we both know her very well from Kentwell 
>(Tudor and Elizabethan re-enactment!)
>
>I can confirm that the advance copies of the 
>book arrived LAST FRIDAY (and it was touch and 
>go as to whether they WERE going to arrive that 
>day!) I now have my copy (which was given to me 
>in return for helping to pattern test). Edmund 
>has spirited it away at the moment whilst I am on the internet.
>
>Anyway, from tomorrow (20th March), Ninya has 
>the job of packing up all the books that have 
>been pre-ordered and sending them on their way 
>to their new homes. The delivery time will now 
>be at the mercy of the postal service but expect to receive it very soon!
>
>And I can say it really is a GREAT book! Well worth the wait!
>
>On a different topic:
>
>PRINCESS ELIZABETH fabric:-
>At 10:42 19/03/2006, you wrote:
> >My daughter loves this fabric at
> ><http://www.ninyamikhaila.com/images/C16th/Eliz 
> 2005.jpg>http://www.ninyamikhaila.com/images/C16th/Eliz2005.jpg . Does anyone
> >know where I can find something similar and not too expensive?
> >Thanks, Aylwen
>
>Aylwen,
>
>That fabric WAS VERY expensive. I know where it 
>came from but I am not authorised to provide the 
>person's details (and don't know their contact 
>details anyway, only their name!). I have had 
>different fabric from this person - it was an 
>ivory and gold silk damask for my wedding gown. 
>And that, 6 years ago was £75 (sterling) per 
>metre! I know the purple one was MUCH more than that.
>
>However, at the Re-enactor's Fayre this weekend, 
>there was a stall called "Quartemasterie" (no 
>website!) who sell silks of all kinds (its 
>amazing - I didn't succumb this time!).
>
>They have THAT VERY silk probably because it was 
>the end of a bolt that someone else purchased 
>and didn’t use the rest. As such, they tend to 
>be very much cheaper but their silks are very 
>good quality. If you like, I can email them with 
>the picture you gave a link to and ask them to 
>send me a swatch of it and the cost? I can then 
>pass it on to you. It’s an odd fabric because 
>the purple bits are very velvety in feel though it certainly is not velvet.
>
>Reply on the list as I can read it (I just can’t 
>POST to it for some bizarre reason) or contact 
>me privately on myladysw AT myladyswardrobe DOT com
>
>
>Best wishes to all and "hi" to one or two of you 
>who do know me. And Thanks to Suzi for posting on my behalf.
>
>Bess
>myladyswardrobe.com


Suzi 
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Date: Sun, 19 Mar 2006 20:20:49 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] painting references needed
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At 20:03 19/03/2006, you wrote:

>Greetings!
>
>I am looking for pointers to online paintings (or woodcuts, etc.) of 
>Polish, Russian, and Eastern European clothing from 13th century 
>through the 16th century.  References to books would be OK as well, 
>I can check to see if the library has them or can borrow them.
>
>Thanks! Cheers!
>Lonnie
"Vecellio's Book of Costumes" (or a similar title - not near my 
books). Dover book. Drawings by a 16th century Italian of costume 
from the known world.

Suzi 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I could perhaps try to find the ISBN number for you, i could search for it 
in an online library.

Bjarne


----- Original Message ----- 
From: "Beth and Bob Matney" <bmatney@alltel.net>
To: <h-costume@mail.indra.com>
Sent: Sunday, March 19, 2006 8:59 PM
Subject: [h-cost] books


> One that I'm REALLY eager to get is the one on the Oseberg textiles. 
> Supposedly it's at the printers and due out sometime in May according to 
> (someone else's reading of) this article:
>         http://www.aftenposten.no/fakta/innsikt/article1248828.ece
>
> Unfortunately, I don't read Norwegian and the translation engines are a 
> bit limited., so I'm taking their word for it.  Despite extensive searches 
> on the Internet, I cannot find an ISBN or even a title of it though..and I 
> get no replies to emails to the Viking Ship Museum.
>
> Beth Matney
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: [h-cost] You Bad Bad Bad people! <VBEG>
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At 12:02 PM -0700 3/19/06, h-costume-request@indra.com wrote:
>I don't think there is any problem. In my case, as I said, the book is
>not even late. My voucher says it will be mailed when the First Editions
>come in (expected by the end of March). Given processing and mailing
>time, I wouldn't be concerned until the end of May comes along and I
>haven't heard anything.
>
>Not worried, just impatient for what looks like a wonderful resource! ;)

Yeah sure, remind me about this book, while I have a few pennies. 
Sure and it's in the pre-order window. <WEG> And soon to be in my 
house <G>
Soooo how long till the next one comes out??? (Tapping one's foot 
impatiently!) Stuart clothes - Yeah!
Ta
Carol, who has worked out the scheme for the 17th cent dress, now to sew it up!
-- 
Creative Clutter is Better Than Idle Neatness!
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Date: Mon, 20 Mar 2006 09:01:01 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Melody Watts wrote:

>Very interesting, when you click it up to 200% you can
>see the string end entering the channel/casing, but I
>was wondering if it was only 2 pieces of string
>involved.... 1 very long one for the channel across
>the back of the shoulders to the area above the collar
>bones and a shorter run directly across the front of
>the bust? The agilets would prevent the cord from
>slipping in the channel and getting "lost".
>  
>

I remain unconvinced that the black lace enters the channel.  I think 
that what we're looking at is similar to this one:
http://gallery.euroweb.hu/art/p/palma/vecchio/blonde.jpg

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 


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Subject: [h-cost] 17th cent woolen/worsted cloth
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Hi
I have a question for all  of you 17th cent mavens...What options are 
available for the cloth for a woolen or worsted jacket? Was most all 
of the wool cloth so heavily fulled and napped that the surface was 
smooth and plush? Was there much use of wool cloth (Middle sort, NOT 
Highlands, English) that had a distinct pattern other than 
tartan--either stripes in the warp or a shot--warp one color, weft 
another in tabby, or a twill made fancy by a different weft color?

Or am I just getting to AR and should just start sewing the undies??

Ta
Carol--slowly getting a handle on Mid 18th cent only to foolishly 
jump the Time Stream back a 100 years! Early 1st cent is beginning to 
look easy! <G>
-- 
Creative Clutter is Better Than Idle Neatness!
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Date: Sun, 19 Mar 2006 16:23:42 -0500
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Subject: [h-cost] Daughter of Charity cornette
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I saw a request on another list for instructions on how to make a Daughter
of Charity cornette--sometimes called a "butterfly" headdress or "sailboat"
headdress. Some folks call it the Flying Nun headdress even though it's not
the same as used in the TV series.
I know I tried finding instructions a few years ago but came up empty. There
isn't a motherhouse here in Atlanta either to contact. I emailed someone in
Emmitsburg but they didn't have instructions either at the time.
I am looking to recreate a DC habit for a reenactment group here as a
Civil-War era nurse but the cornette is the only thing I haven't figured out
how to do yet. I do imagine it would require very starched linen over a cap.
Anything would help.
Thanks,
Debra
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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20060319040805.2105.qmail@web52213.mail.yahoo.com>	<441CDD9A.3000005@lavoltapress.com><058401c64b83$2ae1fc10$e100a8c0@compaqub>
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Subject: Re: [h-cost] semi-OT: waiting for books
Date: Sun, 19 Mar 2006 14:42:02 -0700
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??<insert Vulcan eyebrow raise here>
Fran, I don't know you in person, but the tone of your notes does sometimes
come across as, well, touchy.  Don't know if you care or not, but the
original poster's not the only one to think that....
--Sue

----- Original Message -----
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 19, 2006 11:59 AM
Subject: Re: [h-cost] semi-OT: waiting for books


>
> >
> > I realize that this could be a touchy subject for you,
>
> Why?  I don't sell books before I get them in (although it is a common
> practice, and there is nothing wrong with it), nor do I get many
> complaints about late arrivals.  I was merely trying to explain how the
> book industry works--which is about all you can expect from a post to
> people who know nothing about your order.  There is no need to interpret
> _my_ repsonses as anger.  I have nothing to do with either of these books.
>
> Fran
> Lavolta Press
> htttp://www.lavoltapress.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: Bella <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
To: Historical Costume <h-costume@indra.com>
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Adele de Maisieres <ladyadele@paradise.net.nz> wrote:
  >>>I remain unconvinced that the black lace enters the channel. I think 
that what we're looking at is similar to this one:
http://gallery.euroweb.hu/art/p/palma/vecchio/blonde.jpg <<<<


  You beat me to it Adele! :-)
   
   
   
  Bella

		
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Tudor Tailor (was Re: [h-cost] You Bad Bad Bad people! <VBEG>
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Quoting cahuff <cahuff@clearviewcatv.net>:

> At 12:02 PM -0700 3/19/06, h-costume-request@indra.com wrote:
>> I don't think there is any problem. In my case, as I said, the book is
>> not even late. My voucher says it will be mailed when the First Editions
>> come in (expected by the end of March). Given processing and mailing
>> time, I wouldn't be concerned until the end of May comes along and I
>> haven't heard anything.
>>

I never got a voucher -- but I do have a PayPal recepit.  I hope there
won't be a problem!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: Lavolta Press <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] semi-OT: waiting for books
References: <20060319040805.2105.qmail@web52213.mail.yahoo.com>	<441CDD9A.3000005@lavoltapress.com><058401c64b83$2ae1fc10$e100a8c0@compaqub>	<441DA9F7.1080806@lavoltapress.com>
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No, I don't care if "lots of other people" think I'm not "nice," or 
whatever.  Or whether they "like" me or not.

I don't believe in the traditional (and outmoded) female role model of 
constantly saying, "of course, it's only my opinion," "it's just my two 
cents," "your mileage may vary," "what does the rest of the group 
think?" ad nauseum.

That's all about conformity.  It has nothing to do with kindness, 
helpfulness, informativeness, or any positive virtue.  Those are just 
continual statements that a woman is not supposed to think independently 
and that she should always be ready to back down the instant someone 
disagrees with her or says she's "rude."

It has nothing to do with real friendhip. A large percentage of the 
women playing out that role are constantly trying to stab each other in 
the back just under the line of what "the group"--whichever group it 
is--will openly complain about.  Or getting together to gang up on each 
other, because if you've got enough people on your side, apparently it's 
OK to be as nasty as you want.

Men, on the other hand, do not have to apologize every time they make a 
statement.  They just do it.  If more women felt OK about saying what 
they thought and doing what they wanted, maybe they'd stop trying to get 
everyone else to conform and lead more productive lives themselves.

Fran
Lavolta Press
http://www.lavoltapress.com


Sue Clemenger wrote:

> ??<insert Vulcan eyebrow raise here>
> Fran, I don't know you in person, but the tone of your notes does sometimes
> come across as, well, touchy.  Don't know if you care or not, but the
> original poster's not the only one to think that....
> --Sue
> 
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Thanks Fran. I'll give them a try.

Beth


>Date: Sun, 19 Mar 2006 12:10:00 -0800
>
>Fred Struthers of R. L. Shep gets in a lot of foreign publications and
>is usually interested in hearing about new ones of interest to
>costumers.  In other words, if he thinks some other customers will want
>it, in addition to you, he may well stock it. Fred's email address is
>fsbks@mcn.org.
>
>Fran
>Lavolta Press

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Thanks, Bjarne. I would really appreciate any information that you could 
find on this book! As the book is not out yet, I tried to find a 
"forthcoming publications" for Univ. of Oslo, but was not successful.

Beth

>Date: Sun, 19 Mar 2006 21:29:22 +0100
>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>
>Hi,
>I could perhaps try to find the ISBN number for you, i could search for it
>in an online library.
>
>Bjarne

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To: "Historical Costume" <h-costume@indra.com>
References: <JEEAJIHHAGALAKGGAFNBKEKGCGAA.picmajik@bellsouth.net>
Subject: Re: [h-cost] Daughter of Charity cornette
Date: Sun, 19 Mar 2006 16:53:17 -0600
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>I saw a request on another list for instructions on how to make a Daughter
> of Charity cornette--sometimes called a "butterfly" headdress or 
> "sailboat"
> headdress. Some folks call it the Flying Nun headdress even though it's 
> not
> the same as used in the TV series.
> I know I tried finding instructions a few years ago but came up empty. 
> There
> isn't a motherhouse here in Atlanta either to contact. I emailed someone 
> in
> Emmitsburg but they didn't have instructions either at the time.
> I am looking to recreate a DC habit for a reenactment group here as a
> Civil-War era nurse but the cornette is the only thing I haven't figured 
> out
> how to do yet. I do imagine it would require very starched linen over a 
> cap.

Trying spelling it coronet.   :-)   I found a resource that might get you 
started. There is an article here 
http://www.staugcatholic.org/archives/May-June2004.pdf  and a photograph 
starting on 16. They mention a book title that you might get from an 
interlibrary loan service. Might try contacting the magazine and/or the 
author as well.

looking through this catalog is fun, http://www.blessings-catalog.com/ but I 
don't know how much help it will be. Also, they are quitting business, so if 
you need a Nun doll, hurry!

Denise
Iowa 

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] painting references needed
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Status: RO

Lonnie,

	Have you gotten the Summer 2005 Complete Anachronist #128 - A Polish
Miscellany?  Of course that assumes that you are a member of the SCA, and
get CA's.  If you aren't/don't, it is available from the Stock Clerk
https://secure.sca.org/cgi-bin/stockclerk/ca.html  Go to page 13 for this
particular one.  It has a decent Bibliography.

	I'm cataloguing my books with LibraryThing.com and just put in a little
volume I got from Krems in Austria titled:
_Tender Meat Under Saddle: Customs of Eating, Drinking and Hospitality among
Conquering Hungarians and Nomadic Peoples_ (Available from Poison pen Press
at http://www.poisonpenpress.com/cookery.html (not affiliated).  Part of a
conference organized by the College of Commerce, Catering and Tourism, The
Society of Old-Hungarian Culture, and the Department of Medieval and
Postmedieval Archeology, Eotvos Lorand University, Budapest (October 10-11,
1996) Those titles might give you places to look.  The front cover has an
illustration of:  The seven chiefs of the Hungarians (detail) J. Thuroczi,
Chronica Hungarorum, Burnn 1486.

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Suzi Clarke
> Sent: Sunday, March 19, 2006 12:21 PM
> To: Historical Costume
> Subject: Re: [h-cost] painting references needed
>
>
> At 20:03 19/03/2006, you wrote:
>
> >Greetings!
> >
> >I am looking for pointers to online paintings (or woodcuts, etc.) of
> >Polish, Russian, and Eastern European clothing from 13th century
> >through the 16th century.  References to books would be OK as well,
> >I can check to see if the library has them or can borrow them.
> >
>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] semi-OT: waiting for books
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Greetings--
>
> I don't believe in the traditional (and outmoded) female role model of 
> constantly saying, "of course, it's only my opinion," "it's just my 
> two cents," "your mileage may vary," "what does the rest of the group 
> think?" ad nauseum.
>
> That's all about conformity.  It has nothing to do with kindness, 
> helpfulness, informativeness, or any positive virtue.  Those are just 
> continual statements that a woman is not supposed to think 
> independently and that she should always be ready to back down the 
> instant someone disagrees with her or says she's "rude."
I can't say I agree with you that it's about conformity or being 
female.  It *can* be about conformity, but it also can be about 
leadership.  I am a project manager by profession, and I absolutely have 
to say in team meetings "what does the rest of the group think"?  My job 
is to lead the project--but I'll be the first to admit that I don't know 
much about software programming, and I'm going to rely on the experts to 
tell me if that schedule I'm expecting them to follow is unreasonable.  
If I don't do that, project fails, no matter how "strong" I am.  
Sometimes I have to turn around and then say to that expert who told me 
they could get something done in ten days, "OK, it's the seventh day and 
you're only 50% done.  What's with that?" and hold them to their 
commitment.  

I'll agree that women should not just back down because someone 
disagrees with them or calls them rude.  However, I can't agree that 
being honest about one's opinions or asking for input from others is 
necessarily a bad trait.  It all depends on the way it's done and how.

Susan




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> I can't say I agree with you that it's about conformity or being 
> female.  It *can* be about conformity, but it also can be about 
> leadership.  I am a project manager by profession, and I absolutely have 
> to say in team meetings "what does the rest of the group think"? 

A recreational e-group is not a job/work team meeting. Nor, unlike a 
work meeting, does it usually exist to perform any specific task or 
solve any specific problem.  Nor do most social situations exist for 
work purposes.

What I am driving at is that women traditionally--though not, BTW, by 
most employees in any company I've ever worked for, and not nearly as 
much in the San Francisco area as with people from some other geographic 
areas I encounter on the net--are expected to express themselves 
differently from men. Some women seem to feel expected to say almost 
everything with an implicit apology built in, a continual deference to 
everyone else, a continual wariness as to whether they're agreeing or 
disagreeing with anyone whatever about anything whatever.  The attitude 
is that people are always important than facts, ideas, analysis, and any 
and every criteria above or outside of "belonging to the group."

I find it puzzling, because as I said, real friendship is very seldom 
involved.  It's not like most people women are expected to defer to 
would do anything whatever for them in any time of trouble. Often the 
relationships they work so hard to maintain have a constant hostile 
undercurrent. It seems like a useless endeavor.

And, most men get through life just fine saying what they think and 
standing by it. There is no reason why women should have to behave 
differently.

> I'll agree that women should not just back down because someone 
> disagrees with them or calls them rude.  However, I can't agree that 
> being honest about one's opinions or asking for input from others is 
> necessarily a bad trait.

I think being honest about one's opinions--rather than constantly 
deferring to others regarding said opinions--is a very positive trait.

As for asking for input from others--asking someone who has, or who you 
believe to have expertise, is not the same thing as constantly making 
sure you don't ever disagree with anyone about anything, or apologizing 
every time you do. Most of what I'm talking about has nothing to do with 
anyone's expertise.

Also, the business of a social group allotting people specific slots as 
anoited experts who are assumed to be _always_ right about their topic, 
and whom no one ever disagrees with, and some of them even expect 
everyone to apologize for offering any information about "their" topic 
even if it is in agreement with them: This is just a facet of what I was 
talking about above, assuming that "the group" is always more important 
than ideas, facts, analysis, and everything outside "the group."

In other words, it is sensible to ask your plumber for her or his expert 
opinion on whether all your pipes really need to be replaced. Even 
though you may or may not follow that advice, because it is also 
sensible to get estimates from other plumbers and read up on the subject 
before hiring anyone.  Just because an "expert" says something does not 
mean they are always correct or unbiased.

Going through social or work life saying, "I don't want to step on 
anyone's toes by even discussing this subject, and I don't want to upset 
anyone by disagreeing, but I think thus and so, but of course your 
mileage may vary and I'm perfectly willing to retract everything I just 
said if even a single person disagrees, and if I did happen to disagree 
with anyone I'm really sorry because I must have hurt their feelings" 
yadda, yadda, yadda, yadda, is just female conformity that achieves no 
productive end whatever.


   It all depends on the way it's done and how.
> 

It also depends on where it's done, and for what purpose.  Again, a 
meeting of project members on a work team is not a social e-group.  Nor 
do I usually hear people constantly apologizing for their opinions or 
stated facts in work situations.

Fran
Lavolta Press
http://www.lavoltapress.com
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Subject: [h-cost] corded/trapunto doublet question
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I'm the one who about a month ago asked about possible shrinkage of
corded corsets and bodices. Based on answers here I've decided to cut
my fencing doublet pieces with an extra 1" all around, just in case.

I'm debating whether to assemble the interlining and outerlining
pieces separately before cording, or after - given that this is a
garment with armholes, I'm leaning towards cord pieces separately and
then assemble, but If anyone has any solid arguments for the other way
around I'd love to hear them!

Thanks in advance,

Allison T.

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Date: Sun, 19 Mar 2006 22:14:53 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] semi-OT: waiting for books
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>I don't believe in the traditional (and outmoded) female role model 
>of constantly saying, "of course, it's only my opinion," "it's just 
>my two cents," "your mileage may vary," "what does the rest of the 
>group think?" ad nauseum.

      Tone is not apparent on a list like this one, so I think it's 
important to spell out one's opinions and offer citations. 
Statements like those Fran mentions are sometimes used to emphasize 
that the writer is not saying "always" or "never".

      There are plenty of topics in costume research where we can 
state a general trend, which may have rare exceptions.  Or the 
observation is different in another culture or a few decades 
earlier/later.

      It's a soft area of research in many ways, with new information 
found or new experiments attempted.  Some of the statements are a 
shorthand way of saying "This is my own research/experience and 
others may find something different.  I would be very interested to 
hear about any examples in XYZ culture for the years __ to __."

      "YMMV" (Your Mileage May Vary) covers differences in body size, 
price ranges, etc.  As long as people don't get too much into obscure 
acronyms, or too use many assumptions so that their meaning is not 
clear.
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Subject: Re: [h-cost] semi-OT: waiting for books
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  ----- Original Message ----- 
  From: Lavolta Press<mailto:fran@lavoltapress.com> 
  To: Historical Costume<mailto:h-costume@indra.com> 
  Sent: Sunday, March 19, 2006 2:21 PM
  Subject: Re: [h-cost] semi-OT: waiting for books



  If more women felt OK about saying what 
  they thought and doing what they wanted, maybe they'd stop trying to get 
  everyone else to conform and lead more productive lives themselves.

  ******************
  You're wrong--it's nothing whatsoever to do with someone's sex.  Pontificating boors are pontificating boors regardless of whether they are male or female.

  LuAnn


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> 
>      Tone is not apparent on a list like this one, so I think it's 
> important to spell out one's opinions and offer citations.

You're talking about several different things here.

Some people spend way too much effort worrying about "tone."  Rational 
dispute--giving a different opinion, and backing it up with facts and/or 
analysis--is sensible. It often leads to interesting discussions, sheds 
new light on many things, etc. Emotionally based dispute--complaining 
that you just don't like the way someone phrased something, or that you 
just don't like them personally, is not rational dispute. It does not 
offer any information, or shed any new light on whatever subject is at 
hand, or give any real reason why someone disagrees with something.

As for citations--Yes, they're a good thing, but an email list is not an 
academic article or dissertation. This is a recreational list. Not 
everyone has the time to write a detailed essay every time they want to 
discuss a topic, nor are their reference works always directly at hand.

I'd say if and when people can and want to offer citations, great. But I 
don't think you can reasonably obligate people to provide them all the 
time in this context.

  Statements
> like those Fran mentions are sometimes used to emphasize that the writer 
> is not saying "always" or "never".

I don't think  statements like "it's just my opinion" etc., are a good 
way to convey that. There are many other, shorter, and more precise ways 
to do it.  For example:

By XXX date, most American families owned a sewing machine.

versus:

By XXX date, families had a sewing machine, at least that's my opinion, 
of course you may disagree.


> 
>      It's a soft area of research in many ways, with new information 
> found or new experiments attempted. 

History is a soft enough science that some data will never be available, 
and what there is can be interpreted in many different and equally 
plausible ways. But this is a given.


  Some of the statements are a
> shorthand way of saying "This is my own research/experience and others 
> may find something different.  I would be very interested to hear about 
> any examples in XYZ culture for the years __ to __."

If someone makes a statement of opinion, who else's would it be but 
their own?  If they make a statement of fact, of course it's their own 
research, either from primary sources or from reading other people's 
research/secondary sources. And of course someone else may have found 
out some different facts or give a different opinion; maybe many people. 
  This is a given, and constantly saying so is meaningless. If you have 
a definite area you're not sure about, or you want to solicit 
information on a certain topic, it's more meaningful to say, for example:

"I got this information from my research on the clothing of middle-class 
families in New York City, but it is not necessarily true for all areas 
and social classes. I'm also interested in working-class families in New 
England, has anyone done any research on them?"

Rather than:

"Of course this is just my research, someone else may have found out 
something different, there are always exceptions, I always say never say 
never."


> 
>      "YMMV" (Your Mileage May Vary) covers differences in body size, 
> price ranges, etc.  As long as people don't get too much into obscure 
> acronyms, or too use many assumptions so that their meaning is not clear.

I think it's better to define what's being qualified:

"These corset instructions work best for large busts"

rather than:

"These corset instructions work great for me, YMMV."

Having said all that--I only write to spec if you pay me. And you 
couldn't possibly pay me enough to use any emoticon, or to say "never 
say never" or some of the other pat phrases I see.  I suppose I can't 
expect anyone else to write to my specs (as above). But I also have the 
right to say things the way I think is best.

Best,

Fran
Lavolta Press
http://www.lavoltapress.com
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From: Jennifer Geard <geard@verso.org>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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On Sun, 19 Mar 2006 13:28, Melody Watts wrote:
>  When you say "the 4 laces make stop points," do you
> mean there are 4 laces total involved or 4 "ends",2
> tying ends for each  bows ?

I made mine with four laces -- front, back and two sides. The stop points are 
at the 'corners' where the laces meet.

However, Adele pointed out 
http://gallery.euroweb.hu/art/p/palma/vecchio/blonde.jpg, which frankly looks 
like a more plausible explanation. I'll quietly regret the 26,000 (!) 
messages from this list that I deleted -- mostly unread -- in a recent 
clean-up, and leave you to your regular discussions. <wry grin - that's a few 
years' worth of failing to keep up>

Cheers,
  Jennifer
-- 
Jennifer Geard
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Whoops, sorry, my dumb... I missed somehow that you already have garment leather. I really shouldn't try to answer emails on my tea break.

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

> --- caitlin_oduibhir@yahoo.ca wrote:
>
> That is exactly what I plan on using. I purchased some
> white vintage kid gloves and will tack on the wrist
> decoration with russet and olive ribbons. I currently
> have it in a garment weight leather, but....it's
> coming off rather heavy looking and totally
> overpowering the delicacy of the kid and the silk
> ribbons. 

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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Jennifer Geard wrote:

> I made mine with four laces -- front, back and two sides. The stop points are 
> at the 'corners' where the laces meet.
> 
> However, Adele pointed out 
> http://gallery.euroweb.hu/art/p/palma/vecchio/blonde.jpg, which frankly looks 
> like a more plausible explanation. I'll quietly regret the 26,000 (!) 
> messages from this list that I deleted -- mostly unread -- in a recent 
> clean-up, and leave you to your regular discussions. <wry grin - that's a few 
> years' worth of failing to keep up>


You do understand, of course, how I hate to disagree with you :-)

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
-----------------------------
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: RE: [h-cost] German water--attn dyers
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Washing machines like that are not peculiar to Germany. British machines don't usually have a cold setting either (mine is actually an Italian-made Candy). I don't know about Whirlpool models sold in the UK.
Oh, and our water is fluoridated.

Kate Bunting
Librarian and 17th century reenactor

>>> wandap@hevanet.com 18/03/2006 21:35 >>>
I lived in Germany for 16 years from 1976 to 1992.  Everything that could
bleed did.  However it was because of the German washer I used, not the
water.  The washer heated the water inside itself.  It really didn't have a
Cold setting such as Americans are used to.  Since we were there with the US
forces, I finally got a Whirlpool washer from someone who had shipped it
over and didn't want to ship it back.  Hooked it up to the water supply,
used American laundry soap (Tide, whatever) and never had the bleeding
problem again.

I kept the German Washer for when I was trying to get something really clean
and white (hot water and chlorine bleach), or to dye fabric in.

Regina
>  	I have no idea of the effects of fluoride on dye or how close it
> is to the stuff in water but you can get fluoride tablets or drops from
> dentists.  Water where I live is not fluoridated either but I
> don't notice
> the kind of bleeding you mention.
>
> lisa


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] 17th c doublet cuff closure
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Bjarne, can you explain how 17th century men's linen cuffs (wristbands) were pinned on? I used to wear male 17th century attire when I was younger, but was never able to work out a satisfactory way to get the white cuffs to stay in place. I made them to fasten round my wrist inside the doublet sleeve and then turn back over the sleeve. Did they simply stick a pin in each side of the opening?

Kate Bunting
Librarian and 17th century reenactor

>>> drewscph@post12.tele.dk 17/03/2006 20:43 >>>
The doublets all have 2 piece sleaves. The back seam is not finished, but 
opened about 5-10 cm. Then they used to (in come cases) turn back the 
sleave, so that it would make a cuff in itself. But when worn with white 
linnen cuffs, i suppose they were just pinned together with the cuffs. No 
buttons, no buttonholes - nothing
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To: "Historical Costume" <h-costume@indra.com>
References: <JEEAJIHHAGALAKGGAFNBKEKGCGAA.picmajik@bellsouth.net>
Subject: Re: [h-cost] Daughter of Charity cornette
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>From what I know of the habit, all the layers of the headdress would have 
been starched, including the cap.  My Anut is a member of the sisters of 
Notre Dame and wore the habit until the late 60s, she lost all of her hair 
because of the starch!

Kelly

>I saw a request on another list for instructions on how to make a Daughter
> of Charity cornette--sometimes called a "butterfly" headdress or 
> "sailboat"
> headdress. Some folks call it the Flying Nun headdress even though it's 
> not
> the same as used in the TV series.
> I know I tried finding instructions a few years ago but came up empty. 
> There
> isn't a motherhouse here in Atlanta either to contact. I emailed someone 
> in
> Emmitsburg but they didn't have instructions either at the time.
> I am looking to recreate a DC habit for a reenactment group here as a
> Civil-War era nurse but the cornette is the only thing I haven't figured 
> out
> how to do yet. I do imagine it would require very starched linen over a 
> cap.
> Anything would help.
> Thanks,
> Debra
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Stomacher  --a photo demo
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If it hasn't been posted already, 
http://www.uvm.edu/~hag/sca/tudor/redjane.jpg 
<http://www.uvm.edu/%7Ehag/sca/tudor/redjane.jpg>, this picture clearly 
shows the attachment on the sitters left side (our right) where the 
placard is pinned.  Also, though Ninya's interpretation clearly works, 
there is no reason that  the under lacing must meet in the middle.  If 
the person is wearing a corset, the lacing can sit well off  to the 
sides.  If you look at the woman on the far left and the two women 
sitting on the floor on the far right you will see gowns where the 
distance between the lacing sides is well apart and the neckline is 
below the gown underneath.  As can be seen, if worn underneath another 
gown, or covered by a placard, there will be no unbroken neckline.  This 
is the same method I used in this gown:  
http://www.saragrace.us/images/Elizabeth/Events/122704/OG2.jpg
If you look at the gown "all put together," you cannot see the lacing at 
all.  
http://www.saragrace.us/images/Elizabeth/Dress_Practice/full%20ensemble1.jpg

My interpretation is that this is how the later stomacher developed.  
Looking for alternative ways to get in and out of a gown, you can 
imagine someone switching the lacing to the front; since they are always 
frugal in fabric use, they don't make the lacing meet in the middle.  
Then they begin to see how the opening can be used to show off 
contrasting fabrics, so they sometimes wear the open front without the 
placard.  Someone recognizes the illusion of a slimmer silhouette 
possible by the unbroken (by lacing) front and the stomacher is born....

Just another alternative.....

Sg

As my favorite historian said "If you thought of it, they probably 
thought of it."


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References: <20060319040805.2105.qmail@web52213.mail.yahoo.com>	<441CDD9A.3000005@lavoltapress.com><058401c64b83$2ae1fc10$e100a8c0@compaqub>	<441DA9F7.1080806@lavoltapress.com><003a01c64b9d$f6ae3b00$1cbfa6d8@pavilion>	<441DD968.8050105@lavoltapress.com>
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I'm not following your argument. What exactly are you saying about 
women's roles here, at least middle-class women in modern America?  Do 
you feel that women are now socialized to express themselves exactly the 
same way as men?  Or if there are differences, what do you think they are?

Fran
Lavolta Press
http://www.lavoltapress.com


>   ******************
>   You're wrong--it's nothing whatsoever to do with someone's sex.  Pontificating boors are pontificating boors regardless of whether they are male or female.
> 
>   LuAnn
> 

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Subject: [h-cost] RE back side lacing was:Stomacher  --a photo demo
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This is not English or a kirtle/corset but back side lacing goes back aways.
Sorry I am not well versed with dates.
http://homepage.mac.com/festive_attyre/research/wkclass/wk1.html
This is 1580. Note the woman in pink.

http://homepage.mac.com/festive_attyre/research/wkclass/wk12.html

De
-----Original Message-----
Hi,
I should not have answered as i did, obviously they did it in a different
way than in my period.
How long time did they have this lacing in the side bodice? Anybody knows?

Bjarne


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <s41e7a1d.044@cluster1-gwise3-server.derby.ac.uk>
Subject: Re: [h-cost] 17th c doublet cuff closure
Date: Mon, 20 Mar 2006 17:12:22 +0100
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Hi Kate,
I have looked at many portraits in my books, to find answer to this. I did 
find a picture where you see the angle where the cuff ends meet. They are 
not pinned together, but stands open. I think that the cuffs had a strip of 
material attached to the actual cuff, wich would sit under the doublet 
sleave. So i think you have done it correct. But pinns would secure it 
better, and thinking about how they used pins to attach the standing collars 
to the bodices and doublets, it would be very likely they did the same witht 
the cuffs.
A few years ago when Nicole visited me when she was having the blue baroque 
dress, she just came from a museum visit where she had discovered a pin 
painted in a portrait, where a standing band was pinned to the bodice.
I would never have noticed this, if Nicole had not shown me.
Pins are good for many things, but i cant profe anything.

Bjarne

Many of the swedish doublets, have buttonholes at the arm split, but no 
buttons. Also some have nothing at all but a decoration ribbon or lace, in 
the arm split.

Bjarne
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Monday, March 20, 2006 10:46 AM
Subject: Re: [h-cost] 17th c doublet cuff closure


> Bjarne, can you explain how 17th century men's linen cuffs (wristbands) 
> were pinned on? I used to wear male 17th century attire when I was 
> younger, but was never able to work out a satisfactory way to get the 
> white cuffs to stay in place. I made them to fasten round my wrist inside 
> the doublet sleeve and then turn back over the sleeve. Did they simply 
> stick a pin in each side of the opening?
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> drewscph@post12.tele.dk 17/03/2006 20:43 >>>
> The doublets all have 2 piece sleaves. The back seam is not finished, but
> opened about 5-10 cm. Then they used to (in come cases) turn back the
> sleave, so that it would make a cuff in itself. But when worn with white
> linnen cuffs, i suppose they were just pinned together with the cuffs. No
> buttons, no buttonholes - nothing
> ______________________________________________________________________
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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> 


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Bjarne wrote:

>A few years ago when Nicole visited me when she was having the blue baroque 
>dress, she just came from a museum visit where she had discovered a pin 
>painted in a portrait, where a standing band was pinned to the bodice.
>I would never have noticed this, if Nicole had not shown me.
>Pins are good for many things, but i cant profe anything.
>
>Bjarne

You called? :-)

Bjarne and Kate, I should have a photo of the painting and I think I 
doctored it to point to the pin. After a couple of computer crashes and 
three house moves I bless the external harddrive that stores 11 years of 
research data... If the internet is fixed tonight at home I shall rummage, 
upload and send a link if I can find the pic.

Nicole

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Subject: [h-cost] Simplicity 4219
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This is a new pattern for costume shirts. I was wondering if anyone can 
identify view A (lower right corner with the book) and tell me what time 
period it's supposed to be from:

http://www.simplicity.com/assets/4219/4219.jpg



Dawn

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Sigh......
   
  >Message: 12
>Date: Sun, 19 Mar 2006 22:09:03 -0800
>From: Lavolta Press <fran@lavoltapress.com>
>Subject: Re: [h-cost] semi-OT: waiting for books
> 
>      Tone is not apparent on a list like this one, so I think it's 
> important to spell out one's opinions and offer citations.

<major snippage>
   
  >I think it's better to define what's being qualified:
>
>"These corset instructions work best for large busts"
   
  (Opinions of what is a large bust vary greatly)
  
>
>rather than:
>
>"These corset instructions work great for me, YMMV."
>
>Having said all that--I only write to spec if you pay me. And you 
>couldn't possibly pay me enough to use any emoticon, or to say "never 
>say never" or some of the other pat phrases I see.  I suppose I can't 
>expect anyone else to write to my specs (as above). But I also have the 
>right to say things the way I think is best.
   
  I am glad that you recognize this. It is very much a manner of communicating based on where you came from and how you were raised. For an example, my mother-in-law's use of y'all, constant spewing of malapropisms, and mispronounciation of simple words, i.e. "Lie-berry", "Walmark", drive me up a wall, but I don't take umbrage or try to hold her up to the standards of gramar and speech that I was raised with and still use. It is just where she comes from. In a social group you accept one another's differences with a smile.
   
  Communicating in the manner of this list leaves out the standard communication tools we have when speaking with someone in person or even on the phone. They are just words on a screen and not tempered by someone's tone of voice. We all read them differently. Even when communicating in writing with a well known friend or colleague is different than communicating on this list with so many individuals whose personalities we don't really know. The list takes on a conversational tone, without the benefit of heard inflection. Not all of us are technical writers or novelists concerned with the exactly perfect way to express our point.
   
  As for using 'in my opinion' to preface a comment - personally, I am no expert, and based on what little research I have done any comments I have are merely an opinion based on that research. I know this. By saying 'in my opinion', I am stating in a short addenda "This is what I think based on what I have learned so far. If anyone has more information I would love to hear it". Then it is up to me to accept any other information tossed my way. It also says "I am not claiming to be an expert". I think this is a generally accepted interpretation of such comments.
   
  As for no real friendships and women constantly seeking to stab one another in the back while smiling on the surface - either you grew up in a very snide and catty atmosphere or I grew up in an unusually amiable one.
   
  
>
>Best,
>
>Fran
>Lavolta Press
>http://www.lavoltapress.com
   
  Annette M

		
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Subject: Re: [h-cost] Simplicity 4219
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At 16:49 20/03/2006, you wrote:
>This is a new pattern for costume shirts. I was wondering if anyone 
>can identify view A (lower right corner with the book) and tell me 
>what time period it's supposed to be from:
>
>http://www.simplicity.com/assets/4219/4219.jpg
>
>
>
>Dawn


Apparently, here in England, a shirt like this is sold as a "poet" 
shirt. (Not sure which one this refers to, although I think maybe 
bottom left  - was talking to someone at the weekend about this 
pattern but as I wasn't planning on buying, didn't register all of 
the info!) I think as the shirt you refer to has a black "stock" it 
is likely to be that loose period "Regency" meaning anything from 
late 18th to mid 1840's, according to some descriptions I've read.

Suzi


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I received this reply from the author of the newspaper article. The book is 
real!!!

Beth

At 10:54 AM 3/20/2006, you wrote:
>Dear Beth
>
>The book will be published in May this year, not by a publishing company
>but by the museum itself - Kulturhistorisk Museum, Oslo. Title and ISBN
>not yet known. I suggest you call Arne Emil Christensen at 004722851900
>and ask him.
>
>Best regards
>Cato Guhnfeldt
>AFTENPOSTEN.

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Date: Mon, 20 Mar 2006 09:33:59 -0800
From: Lavolta Press <fran@lavoltapress.com>
Organization: Lavolta Press
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 5, Issue 269
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Status: RO


 >Communicating in the manner of this list leaves out the standard 
 >communication tools we have when speaking with someone in person or 
 >even on the phone. They are just words on a screen and not tempered by 
 >someone's tone of voice.

So is every written communication, back to the days of clay tablets. 
Email is not new in that respect. It's just a letter.

 > As for using 'in my opinion' to preface a comment - personally, I am 
 > no expert, and based on what little research I have done any comments 
I > have are merely an opinion based on that research. I know this. By > 
saying 'in my opinion', I am stating in a short addenda "This is what I 
 > think based on what I have learned so far. If anyone has more > 
information I would love to hear it". Then it is up to me to accept any 
 > other information tossed my way. It also says "I am not claiming to 
be > an expert". I think this is a generally accepted interpretation of 
 > such comments.

People's expertise can, and should, be judged on what they say about any 
given subject at that given time. Not on whether they explicitly say "I 
am an expert" or "I am not an expert." Whether the person thinks they 
are an expert or not is irrelevant, as is whether their friends think so.

And of course, in a public group other people are likely to respond to 
whatever you have said. You don't need to explicitly give them the right 
to do so.  You also don't need to "accept" everything everyone else says 
in the sense of agreeing with it.

 >As for no real friendships and women constantly seeking to stab one 
 >another in the back while smiling on the surface - either you grew up 
 >in a very snide and catty atmosphere or I grew up in an unusually 
 >amiable one.

I'm not talking about the atmosphere I grew up in, or the people I know 
"in the flesh"  either socially or professionally. For both of which 
which I am deeply thankful. I'm talking about what I see on the net 
every day in some e-groups, a social dynamic I've never seen before, at 
least not at nearly that level. H-costume is much better than most.

Fran
Lavolta Press
http://www.lavoltapress.com


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From: "Nicole Kipar" <marquesate@hotmail.com>
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Date: Mon, 20 Mar 2006 17:40:52 +0000
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Subject: [h-cost] Costumers in Edinburgh?
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Dear List,

I used to be very active on this list, years ago, but alas, while I am still 
making costumes (in particular historical ones) and still love and research 
the period 1660-1715 most of all, I don't seem to find the time to actively 
participate in discussions. Besides, most of the interest here seems to be 
before or after my favourite period and I wouldn't have much of a tuppence 
to contribute.

Anyway, I apologise for this blatant seeking of fellow historical costumers, 
but I recently moved from Kent to Edinburgh and was hoping, via this list, 
to find fellow costumers in trhe Edinburgh area? Jean, are you still here? 
:-)

Best wishes to all and sundry

Nicole
(kipar.org)

--------------------
"If you think education is expensive, try ignorance."

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Subject: [h-cost] Re: Simplicity 4219
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At 9:58 AM -0700 3/20/06, h-costume-request@indra.com wrote:
>  >This is a new pattern for costume shirts. I was wondering if anyone
>>can identify view A (lower right corner with the book) and tell me
>>what time period it's supposed to be from:
>>
>  >http://www.simplicity.com/assets/4219/4219.jpg

Middle Romance <G>
Ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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From: Cin <cinbarnes@gmail.com>
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Subject: Re: [h-cost] 17th c doublet cuff closure
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>>Bjarne, can you explain how 17th century men's linen cuffs
(wristbands) were pinned on?
>>Kate Bunting
>>> drewscph@post12.tele.dk 17/03/2006 20:43 >>>
>The doublets all have 2 piece sleaves. The back seam is not finished, but
>opened about 5-10 cm. Then they used to (in come cases) turn back the
>sleave, so that it would make a cuff in itself. But when worn with white
>linnen cuffs, i suppose they were just pinned together with the cuffs. No
>buttons, no buttonholes - nothing

I had thought to whip stitch the cuffs onto the sleeve, then remove at
wash time & replace for the next wearing.  Himself would certainly
have less pins to complain about and I wouldnt have to look at dirty
cuffs.
No research results here, just practical matters.
I'm looking forward to Nicole's pinned cuff picture, tho'.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Maybe I'm just too used to the Yahoo groups, but does this list have a 
files, photos & links section?
Julie 


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Subject: [h-cost] 265: To dye for: Poison: "Paris green"
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Subject: [h-cost] to dye for

In about 1840ies i heard there was a new invention
with a very bright green colour. They made wall
hangings with this dyed silks and also it became a 
very popular colour for fashionable ball dresses. But
they didnt realise that it was a very poisonable dye.
The skin would consume the  poison.

Have anybody other heard this?

Yes, there was/is a poison pigment made from arsenic
that was used extensively in wallpaper in the 1800's.
Here's an article about it:

http://www.history-magazine.com/arsenic.html

--Leslie




Leslie Mundy, DCC  Office Hours: M-W-F Noon-5:00
John Carter Brown Library, Box 1894, Brown University
Providence, RI 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Simplicity 4219
Date: Mon, 20 Mar 2006 20:08:54 +0100
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Hi,
That would be an 18th century shirt.

Bjarne
 
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 5:49 PM
Subject: [h-cost] Simplicity 4219


> This is a new pattern for costume shirts. I was wondering if anyone can 
> identify view A (lower right corner with the book) and tell me what time 
> period it's supposed to be from:
> 
> http://www.simplicity.com/assets/4219/4219.jpg
> 
> 
> 
> Dawn
> 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] 17th c doublet cuff closure
Date: Mon, 20 Mar 2006 20:11:17 +0100
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Hi Cynthia,
This would also be a solution they might have done.

Bjarne

----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Monday, March 20, 2006 7:33 PM
Subject: Re: [h-cost] 17th c doublet cuff closure


>>>Bjarne, can you explain how 17th century men's linen cuffs
> (wristbands) were pinned on?
>>>Kate Bunting
>>>> drewscph@post12.tele.dk 17/03/2006 20:43 >>>
>>The doublets all have 2 piece sleaves. The back seam is not finished, but
>>opened about 5-10 cm. Then they used to (in come cases) turn back the
>>sleave, so that it would make a cuff in itself. But when worn with white
>>linnen cuffs, i suppose they were just pinned together with the cuffs. No
>>buttons, no buttonholes - nothing
> 
> I had thought to whip stitch the cuffs onto the sleeve, then remove at
> wash time & replace for the next wearing.  Himself would certainly
> have less pins to complain about and I wouldnt have to look at dirty
> cuffs.
> No research results here, just practical matters.
> I'm looking forward to Nicole's pinned cuff picture, tho'.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
> 
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Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"
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----- Original Message ----- 
From: "Leslie Mundy" <LizzieM@rocketmail.com>
> Yes, there was/is a poison pigment made from arsenic
> that was used extensively in wallpaper in the 1800's.

This is just scuttlebutt, but I've heard that arsenic in small quantities 
was used as a cosmetic aid until the early 20thC--apparently small amounts 
improve the skin and hair's appearance, and make the pupils of one's eyes 
widen creating the effect of larger eyes.  (That last might have been 
belladonna; going on memory here.)

In other words, maybe they were a little more willing to be slowly poisoned 
by arsenic if it made them look good than we are be in the days of safe(ish) 
OTC cosmetics.  We actually need a small amount of arsenic in our diet for 
health, anyway, though I expect that these pigments exceeded that amount.

-E House 

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Subject: Re: [h-cost] New Topic:  drawstring necklines on chemises
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On Mon, 20 Mar 2006 21:06, Adele de Maisieres wrote:
> You do understand, of course, how I hate to disagree with you :-)

You do understand how highly I value fruitful disagreement... <grin>

Cheers,
  Jennifer
-- 
Jennifer Geard
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Was the same style worn throughout the century? Or is this  strictly a 
later 18th century style?  Wondering if it would be appropriate for an 
early 1700's costume...



Dawn



Bjarne og Leif Drews wrote:

> Hi,
> That would be an 18th century shirt.
> 
> Bjarne
> 

>> This is a new pattern for costume shirts. I was wondering if anyone 
>> can identify view A (lower right corner with the book) and tell me 
>> what time period it's supposed to be from:
>>
>> http://www.simplicity.com/assets/4219/4219.jpg
>>

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Quoting Julie <jtknits@jtknits.cts.com>:

> Maybe I'm just too used to the Yahoo groups, but does this list have 
> a files, photos & links section?

no, it doesn't.  :-(  That's one of the good things about yahoo (IMO).
I know that there was a photo account set up somewhere for the Christmas
Gift thing, but I can't call the URL to mind right now.

*sigh*

Susan
-----
Susan Farmer
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University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Hi Julie, you can post pictures here if you like.  You can create a new 
ablum.  I sure wish someone would use it!

http://www.picturetrail.com/gallery/view?username=hcostume
The userid is: indra2006


Sg

Julie wrote:

> Maybe I'm just too used to the Yahoo groups, but does this list have a 
> files, photos & links section?
> Julie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi Dawn,
It would be, only difference from start of the century and late is the neck 
wear. Early 1700 wore a rectangular cravate (necktie with lace in the ends) 
Mid century they started to wear the stocks wich was closed center back.
Is it for a pirate costume?
Bjarne
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 8:25 PM
Subject: Re: [h-cost] Simplicity 4219


> Was the same style worn throughout the century? Or is this  strictly a 
> later 18th century style?  Wondering if it would be appropriate for an 
> early 1700's costume...
>
>
>
> Dawn
>
>
>
> Bjarne og Leif Drews wrote:
>
>> Hi,
>> That would be an 18th century shirt.
>>
>> Bjarne
>>
>
>>> This is a new pattern for costume shirts. I was wondering if anyone can 
>>> identify view A (lower right corner with the book) and tell me what time 
>>> period it's supposed to be from:
>>>
>>> http://www.simplicity.com/assets/4219/4219.jpg
>>>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Bjarne og Leif Drews wrote:

> Hi Dawn,
> It would be, only difference from start of the century and late is the 
> neck wear. Early 1700 wore a rectangular cravate (necktie with lace in 
> the ends) Mid century they started to wear the stocks wich was closed 
> center back.
> Is it for a pirate costume?

Pirate? Good heavens, no! Pirating will get you hanged. This, on the 
other hand, is an honest merchant ship, with private backing from 
several Lords, and a letter of marque from the crown. :)



Dawn

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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <JEEAJIHHAGALAKGGAFNBKEKGCGAA.picmajik@bellsouth.net>
	<050c01c64ba7$e9914070$2bd12b42@denise8541f2db>
Date: Mon, 20 Mar 2006 14:08:29 -0600
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Subject: [h-cost] K of Aragon necklace
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A year or so ago, someone mentioned a modern name for a style of chain 
necklace that looked similar to the longer one K of A wears in this 
portrait:
http://englishhistory.net/tudor/monarchs/aragon.html
Does anyone remember what that name was?  The modern version wasn't exactly 
like the one in the portrait, but it was definitely similar.

-E House

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: Re: [h-cost] Simplicity 4219
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Quoting Dawn <dawn@reddawn.net>:

> Bjarne og Leif Drews wrote:
>
>> Hi Dawn,
>> It would be, only difference from start of the century and late is 
>> the neck wear. Early 1700 wore a rectangular cravate (necktie with 
>> lace in the ends) Mid century they started to wear the stocks wich 
>> was closed center back.
>> Is it for a pirate costume?
>
> Pirate? Good heavens, no! Pirating will get you hanged. This, on the 
> other hand, is an honest merchant ship, with private backing from 
> several Lords, and a letter of marque from the crown. :)
>

*giggle*

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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In a message dated 3/20/2006 2:18:48 P.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

Yes,  there was/is a poison pigment made from arsenic
> that was used  extensively in wallpaper in the 1800's.



And there were stories from the day, that sound like what we call "urban  
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getting deathly ill.
 
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Sorry I can't be of help to you, but I sure miss you on this list.  I 
have often wondered what happened to several of you "oldies but goodies" 
and why you disappeared.  Glad it is nothing we did!  Good luck in 
finding a someone nearby.  Drop a line to us once in awhile and let us 
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still love hearing about them!

Sg

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Subject: [h-cost] Cuff closure
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I am sorry if you get this twice, but my mail on this list is very 
erratic - I have been receiving 8 copies of some mail, and my own 
mail won't post until hours later - literally - so I don't know if I 
am repeating myself.

>Ladies & Gents,
>A quick question, I'm copying the doublet worn by the dashing gent in
>Caravaggio's "The Fortune Teller" now in the Louvre.  Both my copy &
>the original are mustard gold velvet with the chocolate brown racing
>stripes and those huge balloon sleeves.  At the cuff, which cant be
>seen well in my Louvre catalog, is the closure on the outside if the
>wrist, inside of the wrist or no closure at all? Is there a lapped
>vent as in 18th c manswear or is it just abutted as in the 16th c
>menswear.
>Norah Waugh doesnt go into this detail.
>Thanks for the help,


This might be of interest. I took it at an exhibition of either Franz 
Hals paintings, or Rembrandt, several years ago. (Hals from the 
position of the hand!!)

http://i7.photobucket.com/albums/y260/Sistersuzi/img001.jpg

Suzi


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] K of Aragon necklace
Date: Mon, 20 Mar 2006 14:51:14 -0600
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It's difficult to see the chain's design clearly in that portrait, but it
appears reminiscent of a Byzantine chain link style.

Talia

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of E House
Sent: Monday, March 20, 2006 2:08 PM
To: Historical Costume
Subject: [h-cost] K of Aragon necklace


A year or so ago, someone mentioned a modern name for a style of chain
necklace that looked similar to the longer one K of A wears in this
portrait:
http://englishhistory.net/tudor/monarchs/aragon.html
Does anyone remember what that name was?  The modern version wasn't exactly
like the one in the portrait, but it was definitely similar.

-E House

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----- Original Message ----- 
From: "klh" <khanson@kc.rr.com>
> It's difficult to see the chain's design clearly in that portrait, but it
> appears reminiscent of a Byzantine chain link style.

That's it!  Thanks.  

-E House

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Status: RO

I found the original instructions sent out at Christmas:

>From this url:

http://www.PictureTrail.com/uid4238963

Click on Member Login up in the upper right hand corner of the screen

username: hcostume
password: indra2006

This will take you to the main member page

To upload pictures:

Click on Upload Pics
Follow the basic instructions...especially on clicking only once on  
"Upload Pictures Now!"

I have been successful in uploading from this page, but you can also 
download their Photo Editor and Uploader if you want.
______

I've had a couple pictures I wanted to share recently but didn't know if it was still available,

Janet 

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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] RE back side lacing was:Stomacher  --a photo demo
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This pink dress reminded me... a friend is making a Regency style gown, 
for a party so it doesn't have to be particularly authentic, but neither 
of us can work out - how/where do they fasten?  Some have buttons down 
the centre back, but most don't seem to have any visible opening. 
Please, somebody, give us a clue?

Jean


otsisto <otsisto@socket.net> wrote
>This is not English or a kirtle/corset but back side lacing goes back aways.
>Sorry I am not well versed with dates.
>http://homepage.mac.com/festive_attyre/research/wkclass/wk1.html
>This is 1580. Note the woman in pink.
>
>http://homepage.mac.com/festive_attyre/research/wkclass/wk12.html
>
>De
>-----Original Message-----
>Hi,
>I should not have answered as i did, obviously they did it in a different
>way than in my period.
>How long time did they have this lacing in the side bodice? Anybody knows?
>
>Bjarne
>
>
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-- 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <242.8f5ce82.3150668c@aol.com>
Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"
Date: Mon, 20 Mar 2006 23:26:41 +0100
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Ah,
Many thanks for your fine responses all, how horrible it is!

Bjarne

----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Monday, March 20, 2006 9:11 PM
Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"


>
> In a message dated 3/20/2006 2:18:48 P.M. Eastern Standard Time,
> formfunc@formfunction.org writes:
>
> Yes,  there was/is a poison pigment made from arsenic
>> that was used  extensively in wallpaper in the 1800's.
>
>
>
> And there were stories from the day, that sound like what we call "urban
> legend" today, of people wearing garments colored with those pigments and
> getting deathly ill.
>
> Ann Wass
> _______________________________________________
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Mon Mar 20 17:33:51 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <004401c64b3d$84f93290$7c83fea9@CPQ21932199711><IDEHICPIJOEBPADHEOGPOENFGBAA.otsisto@socket.net>
	<3+UffMH2eyHEJwvD@montgomerie.demon.co.uk>
Subject: Re: [h-cost] RE back side lacing was:Stomacher  --a photo demo
Date: Mon, 20 Mar 2006 23:33:58 +0100
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Hi Jean,
Many regency gowns is closed in the front with a bib front.
Some are closed center back by drawstring tapes, and pinned. Some have hooks 
and eyes and some as you say buttons. You can almost do as you think is the 
best.
The front bib closures are a little difficult to explain for me as english 
is not my native language, but do look in Nancy Bradfields book Costume in 
Detail, if you have accets to this.


Bjarne
----- Original Message ----- 
From: "Jean Waddie" <anne@montgomerie.demon.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 11:07 PM
Subject: Re: [h-cost] RE back side lacing was:Stomacher --a photo demo


> This pink dress reminded me... a friend is making a Regency style gown, 
> for a party so it doesn't have to be particularly authentic, but neither 
> of us can work out - how/where do they fasten?  Some have buttons down the 
> centre back, but most don't seem to have any visible opening. Please, 
> somebody, give us a clue?
>
> Jean
>
>
> otsisto <otsisto@socket.net> wrote
>>This is not English or a kirtle/corset but back side lacing goes back 
>>aways.
>>Sorry I am not well versed with dates.
>>http://homepage.mac.com/festive_attyre/research/wkclass/wk1.html
>>This is 1580. Note the woman in pink.
>>
>>http://homepage.mac.com/festive_attyre/research/wkclass/wk12.html
>>
>>De
>>-----Original Message-----
>>Hi,
>>I should not have answered as i did, obviously they did it in a different
>>way than in my period.
>>How long time did they have this lacing in the side bodice? Anybody knows?
>>
>>Bjarne
>>
>>
>>_______________________________________________
>>h-costume mailing list
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>
> -- 
> Jean Waddie
> _______________________________________________
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> 


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Subject: Re: [h-cost] Costumers in Edinburgh?
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Oh yes that goes for me two!!!
Bjarne

----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 8:54 PM
Subject: Re: [h-cost] Costumers in Edinburgh?


> Sorry I can't be of help to you, but I sure miss you on this list.  I 
> have often wondered what happened to several of you "oldies but goodies" 
> and why you disappeared.  Glad it is nothing we did!  Good luck in 
> finding a someone nearby.  Drop a line to us once in awhile and let us 
> know of your costuming endeavors....  Might not be my time period, but I 
> still love hearing about them!
> 
> Sg
> 
> _______________________________________________
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Subject: [h-cost] Re:Theatre Museum in London closing?
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If anyone wants further information, I now have an update, which is a 
>bit long winded, but will happily forward individually if required.


Yes, please send it to me.  I visited the Museum two years ago and it was 
wonderful!
Being in costumes and theatre made it doubly interesting.

Donna Scarfe
fynehats2@aol.com
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Status: RO

Thank you ever so much for your kind words, Bjarne, Saragrace and Jean. :-) 
I do have a little bit to show, even though I didn't have much time for 
website updates. That was an understatement, I had no time. Here are some of 
my latest costumes & evening outfits:

http://www.kipar.org/salacious-historian/sewingprojects.html

Nicole

--------------------
"If you think education is expensive, try ignorance."




>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: "Historical Costume" <h-costume@indra.com>
>Subject: Re: [h-cost] Costumers in Edinburgh?
>Date: Mon, 20 Mar 2006 23:41:47 +0100
>
>Oh yes that goes for me two!!!
>Bjarne
>
>----- Original Message ----- From: "WickedFrau" <wickedfrau@msn.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Monday, March 20, 2006 8:54 PM
>Subject: Re: [h-cost] Costumers in Edinburgh?
>
>
>>Sorry I can't be of help to you, but I sure miss you on this list.  I have 
>>often wondered what happened to several of you "oldies but goodies" and 
>>why you disappeared.  Glad it is nothing we did!  Good luck in finding a 
>>someone nearby.  Drop a line to us once in awhile and let us know of your 
>>costuming endeavors....  Might not be my time period, but I still love 
>>hearing about them!
>>
>>Sg
>>
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>
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Subject: [h-cost] Re: Oseberg textiles
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Status: RO

OK, here's the details on the book. As they are from Arne Emil Christensen, 
I tend to trust them. I'm still awaiting details on how to order.

Beth Matney

>1)      Title will be: Osebergfunnet IV - Tekstilene (The Oseberg find  - 
>The textiles)
>2)      Will be published around May 6th 2006.
>3)      Cost will be 1000 Norw. Kroner (about 140-150 dollars)
>4)      Book size will be 24 x 36 centimetres standing
>5)      Number of pages: 408
>6)      Approx. 1200 copies will be printed.

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Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"
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In a message dated 3/20/2006 2:54:36 P.M. Eastern Standard Time,  
LizzieM@rocketmail.com writes:

In about  1840ies i heard there was a new invention
with a very bright green colour.  They made wall
hangings with this dyed silks and also it became a 
very  popular colour for fashionable ball dresses. But
they didnt realise that it  was a very poisonable dye.
The skin would consume the   poison.



There was a very bright green, lo-kao, introduced in the mid-19th century,  
but it was a natural dye, and not poisonous, that I know of.  This was  called 
vert lumiere in France, as it looked so beautiful under  candlelight.  Not 
until the introduction of synthetic dyes would such a  brilliant green be 
available any other way.  You know that the most common  way to get green fabrics was 
to dye the fabric in an indigo vat and then overdye  it with yellow (or vice 
versa).  The nature of inidigo means that you can't  just stir the blue and 
yellow dyes together in one pot and get green.  And,  despite its prevalence in 
nature, there is no common natural dyestuff that  colors a good medium green.  
With the right mordant, you can get kind of an  olive green color from some 
of the yellow dyes.
 
The arsenical pigments, used for paints and later printing wallpaper, were,  
as my last post stated, reported to have been used to color garments.   
Pigments, unlike dyes, must be fixed to fabric in some way and so don't work  very 
well for coloring fabrics.  They can also flake off, which might  indeed have 
poisoned the wearer.  But as similar stories were published  many years apart, 
I find them suspect.
 
Ann Wass
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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 17th c doublet cuff closure
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 m>
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At 19:42 16/03/2006, you wrote:
>Ladies & Gents,
>A quick question, I'm copying the doublet worn by the dashing gent in
>Caravaggio's "The Fortune Teller" now in the Louvre.  Both my copy &
>the original are mustard gold velvet with the chocolate brown racing
>stripes and those huge balloon sleeves.  At the cuff, which cant be
>seen well in my Louvre catalog, is the closure on the outside if the
>wrist, inside of the wrist or no closure at all? Is there a lapped
>vent as in 18th c manswear or is it just abutted as in the 16th c
>menswear.
>Norah Waugh doesnt go into this detail.
>Thanks for the help,


This might be of interest. I took it at an exhibition of either Franz 
Hals paintings, or Rembrandt, several years ago. (Hals form the 
position of the hand!!)

http://i7.photobucket.com/albums/y260/Sistersuzi/img001.jpg

Suzi


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <441EDD2B.1010107@reddawn.net><000901c64c51$bb683af0$7c83fea9@CPQ21932199711>	<441F01B3.1070906@reddawn.net><001d01c64c55$7410ff80$7c83fea9@CPQ21932199711>
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Subject: Re: [h-cost] Simplicity 4219
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Ok, Dawn,
Cut of mens have a shirt pattern wich can be used for 1700 - 1790. Its like 
the butterick pattern.
However you really dont need a pattern to make such a shirt. Its very easy 
cut of rectangles, slashes and quatrangels.
frills at sleaves and neck slash can be ajusted like your taste, wide or 
narrow.

Bjarne
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 8:56 PM
Subject: Re: [h-cost] Simplicity 4219


> Bjarne og Leif Drews wrote:
>
>> Hi Dawn,
>> It would be, only difference from start of the century and late is the 
>> neck wear. Early 1700 wore a rectangular cravate (necktie with lace in 
>> the ends) Mid century they started to wear the stocks wich was closed 
>> center back.
>> Is it for a pirate costume?
>
> Pirate? Good heavens, no! Pirating will get you hanged. This, on the other 
> hand, is an honest merchant ship, with private backing from several Lords, 
> and a letter of marque from the crown. :)
>
>
>
> Dawn
>
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <441EE787.6060306@lavoltapress.com>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 5, Issue 269
Date: Mon, 20 Mar 2006 23:39:10 +0100
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Hi Fran,
I think you are so right with this. One of the lists i am on, wich covers my 
favourite area is so hustile and unpleassant that i hardly dare to post to 
it. It is such a shame because its the same people that behaves badly, and 
they aught to be taken out of the forum. And the list administrator is much 
two friendly regarding these bad behaviours.
Wont give any names....
Because of this situation, the list is nearly dead now!

Bjarne
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 6:33 PM
Subject: Re: [h-cost] Re: h-costume Digest, Vol 5, Issue 269


>
> >Communicating in the manner of this list leaves out the standard 
> >communication tools we have when speaking with someone in person or even 
> >on the phone. They are just words on a screen and not tempered by 
> >someone's tone of voice.
>
> So is every written communication, back to the days of clay tablets. Email 
> is not new in that respect. It's just a letter.
>
> > As for using 'in my opinion' to preface a comment - personally, I am no 
> > expert, and based on what little research I have done any comments
> I > have are merely an opinion based on that research. I know this. By > 
> saying 'in my opinion', I am stating in a short addenda "This is what I
> > think based on what I have learned so far. If anyone has more >
> information I would love to hear it". Then it is up to me to accept any
> > other information tossed my way. It also says "I am not claiming to
> be > an expert". I think this is a generally accepted interpretation of
> > such comments.
>
> People's expertise can, and should, be judged on what they say about any 
> given subject at that given time. Not on whether they explicitly say "I am 
> an expert" or "I am not an expert." Whether the person thinks they are an 
> expert or not is irrelevant, as is whether their friends think so.
>
> And of course, in a public group other people are likely to respond to 
> whatever you have said. You don't need to explicitly give them the right 
> to do so.  You also don't need to "accept" everything everyone else says 
> in the sense of agreeing with it.
>
> >As for no real friendships and women constantly seeking to stab one 
> >another in the back while smiling on the surface - either you grew up in 
> >a very snide and catty atmosphere or I grew up in an unusually amiable 
> >one.
>
> I'm not talking about the atmosphere I grew up in, or the people I know 
> "in the flesh"  either socially or professionally. For both of which which 
> I am deeply thankful. I'm talking about what I see on the net every day in 
> some e-groups, a social dynamic I've never seen before, at least not at 
> nearly that level. H-costume is much better than most.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] cuff closures
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In Dynasties on page 223 there is a portrait with a man. His left arm shows 
open cuffs.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: Re: [h-cost] Simplicity 4219
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In a message dated 3/20/2006 2:09:12 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Hi,
That would be an 18th century  shirt.

Bjarne



******************
 
I think Bjarne could be right, but I also see a 19th century shirt...the  1st 
half of it anyway. The shirt becomes what we generally think of as a shirt  
today [yolk, shaped sleeve heads] in the 2nd half of the 19th century.  Before 
that, a shirt is cut in all rectangular and square pieces.
 
The shape of collars really give away the period in the 19th century too.  
That very high collar with the ends of it near your ears can be found early on  
in the period till the 1830s and 40s. [You don't seem to get the starched  
detachable collars till the last half.]
 
Can't say I like any of these styles the pattern offers much. I  really hate 
the laced up the placket "pirate" look. 
 
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Bjarne og Leif Drews wrote:

> Ok, Dawn,
> Cut of mens have a shirt pattern wich can be used for 1700 - 1790. Its 
> like the butterick pattern.
> However you really dont need a pattern to make such a shirt. Its very 
> easy cut of rectangles, slashes and quatrangels.
> frills at sleaves and neck slash can be ajusted like your taste, wide or 
> narrow.

Thanks! It sounds like I'm on the right track here then. Yes, the 
pattern is mostly squares, but since it only costs $2 it is so easy to 
use instead of making measurements of my husband.



Dawn



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From: Cin <cinbarnes@gmail.com>
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Subject: Re: [h-cost] 17th c doublet cuff closure
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Thanks, Suzi,
Didnt find your detached hand under Hals, but I found one with lots of
cuff examples on Wikipedia, esp. Festmahl der Offiziere - Frans Hals.
A little later, but certainly gives the info.

I also found a 2nd version of Caravaggio's "The Fortune Teller" with
some interesting differences.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] 17th c doublet cuff closure
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>In Dynasties on page 223 there is a portrait with a man. His left arm shows
>open cuffs.
>Bjarne
 Got him!  and wow screaming yellow stockings, and what's on those
garters & toe-bows? spangles!
thanks!
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Simplicity 4219
Date: Mon, 20 Mar 2006 19:48:28 -0500
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Sorry, I don't know.

This is a problem that I have with some of the Simplicity and Butterick 
"historic" patterns.  They don't identify the years they are 
representing.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 20, 2006, at 11:49 AM, Dawn wrote:

> This is a new pattern for costume shirts. I was wondering if anyone 
> can identify view A (lower right corner with the book) and tell me 
> what time period it's supposed to be from:
>
> http://www.simplicity.com/assets/4219/4219.jpg
>
>
>
> Dawn
>
> _______________________________________________
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AlbertCat@aol.com wrote:

>  
> I think Bjarne could be right, but I also see a 19th century shirt...the  1st 
> half of it anyway. The shirt becomes what we generally think of as a shirt  
> today [yolk, shaped sleeve heads] in the 2nd half of the 19th century.  Before 
> that, a shirt is cut in all rectangular and square pieces.
> 

I've got the pattern in hand, and it is mostly squares. There's slight 
shaping at the shoulders of the body pieces. Views A and B, the ones 
with buttons and the one with the ruffle and the book, look a lot like 
the shirt diagram in Waugh ... minus the shoulder gusset.

> The shape of collars really give away the period in the 19th century too.  
> That very high collar with the ends of it near your ears can be found early on  
> in the period till the 1830s and 40s. [You don't seem to get the starched  
> detachable collars till the last half.]

The one in Waugh has a 4" collar, which is what the pattern has. Are you 
saying the collars in the 1700's would have been a lot narrower than 
that? She dates the shirt 1700-1810.

Do you know if a ruffle on the front would have been worn early in the 
18th century? That's mostly what I was interested in finding out.

The neck stock says mid 19th century to me and I was planning on not 
using it.


>  
>  I  really hate 
> the laced up the placket "pirate" look. 

Agree with you on the laced up look. Ew. FWIW, there are two styles of 
shirt in the pattern, A&B seem historically based, C&D use different 
sleeves and collars, no gussets,  and so forth.


Dawn

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In a message dated 3/20/2006 7:12:10 P.M. Eastern Standard Time,  
dawn@reddawn.net writes:

instead  of making measurements of my husband.
****************************




For a real 18th century shirt, the only measurement you need is the neck,  
really. It's a one size fits all kinda affair. For instance, the sleeves are  
blouse-y so as to fit everyone. Thus we also get sleeve garters.
 
But if the pattern is rectangles, then go for it! The only "difficult"  
things about a real 18th century shirt are the neck gussets...set in at where  the 
shoulder seam would meet the neck....but there are no shoulder seams in a  
real  18th century shirt. It's cut like a poncho. These triangular gussets  set 
in at the neckline help give the shirt a "shoulder slope" that we just cut  
into a shirt nowadays with shoulder seams. These gussets are a great design  
feature, I think.
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In a message dated 3/20/2006 7:53:15 P.M. Eastern Standard Time,  
dawn@reddawn.net writes:

The one  in Waugh has a 4" collar, which is what the pattern has. Are you 
saying  the collars in the 1700's would have been a lot narrower than 
that? She  dates the shirt 1700-1810.




**********************
 
 I make my 18th century collars 3" finished. But of course they could  be 
4"....or 2". I think they tend to rise at the period progresses....just like  
coat and waistcoat collars do. They get higher and higher 'til it becomes  
necessary to cut out a scoop for the chin.... and thus you get those high points  on 
each side of the face by the 1820s.
 
A 3" rectangle is a great generic collar for the 18th  century.
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	<BAY107-DAV173C697A6DEA18CF97DBCB91DA0@phx.gbl>
Subject: Re: [h-cost] Can you help me find a similar fabric?
Date: Sun, 19 Mar 2006 19:04:58 -0500
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The one on eBay is called Renaissance Fabrics. I bought some recently.
----- Original Message ----- 
From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 19, 2006 12:18 PM
Subject: Re: [h-cost] Can you help me find a similar fabric?


>
> There is a merchant on EBay that sell church brocades.  His prices are 
> reasonable, and the fabric is  yummy.  Check fibre contents though, some 
> are highly polyester and may not be suitable for your project.  We found 
> some good blends that are nice and heavy and have really good drape for 
> period clothing.
>
> Kelly
>
>> My daughter loves this fabric at 
>> http://www.ninyamikhaila.com/images/C16th/Eliz2005.jpg . Does anyone know 
>> where I can find something similar and not too expensive?
>> Thanks, Aylwen
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Subject: Re: [h-cost] K of Aragon necklace
Date: Mon, 20 Mar 2006 20:18:13 -0500
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3D necklace: It looks like a crocheted chain with a bead or gem in the 
middle every so often. I'm not sure, but I agree it does resemble the 
Byzintine necklaces I've seen. I don't know about the flat one.
----- Original Message ----- 
From: "klh" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 3:51 PM
Subject: RE: [h-cost] K of Aragon necklace


> It's difficult to see the chain's design clearly in that portrait, but it
> appears reminiscent of a Byzantine chain link style.
>
> Talia
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of E House
> Sent: Monday, March 20, 2006 2:08 PM
> To: Historical Costume
> Subject: [h-cost] K of Aragon necklace
>
>
> A year or so ago, someone mentioned a modern name for a style of chain
> necklace that looked similar to the longer one K of A wears in this
> portrait:
> http://englishhistory.net/tudor/monarchs/aragon.html
> Does anyone remember what that name was?  The modern version wasn't 
> exactly
> like the one in the portrait, but it was definitely similar.
>
> -E House
>
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>
> --
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So, is this the origin, then, of the old "Poisoned Prom Dress" urban  legend? 
 
_http://www.snopes.com/horrors/poison/dress.htm_ 
(http://www.snopes.com/horrors/poison/dress.htm) 
 
Or this one?
 
_http://www.snopes.com/horrors/poison/coolidge.htm_ 
(http://www.snopes.com/horrors/poison/coolidge.htm) 
 
Maybe I should forward this thread to Snopes.com. :)
 
Tea Rose
 
===============================
From: AnnBWass@aol.com
Subject: Re: [h-cost] 265: To dye for: Poison:  "Paris green"
To: h-costume@indra.com

The arsenical pigments, used for  paints and later printing wallpaper, were,  
as my last post stated,  reported to have been used to color garments.   

Ann  Wass






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Subject: Re: [h-cost] 17th c doublet cuff closure
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Hi, stranger! Long time, no see!
Does this newest house have the same kind of red dining room that you talked
about doing, a few years ago? I always remember that, in the depths of our
cold/grey/overcast/nasty winter months.
--Sue in Montana

----- Original Message -----
From: "Nicole Kipar" <marquesate@hotmail.com>
To: <h-costume@indra.com>
Sent: Monday, March 20, 2006 9:20 AM
Subject: Re: [h-cost] 17th c doublet cuff closure


> Bjarne wrote:
>
> >A few years ago when Nicole visited me when she was having the blue
baroque
> >dress, she just came from a museum visit where she had discovered a pin
> >painted in a portrait, where a standing band was pinned to the bodice.
> >I would never have noticed this, if Nicole had not shown me.
> >Pins are good for many things, but i cant profe anything.
> >
> >Bjarne
>
> You called? :-)
>
> Bjarne and Kate, I should have a photo of the painting and I think I
> doctored it to point to the pin. After a couple of computer crashes and
> three house moves I bless the external harddrive that stores 11 years of
> research data... If the internet is fixed tonight at home I shall rummage,
> upload and send a link if I can find the pic.
>
> Nicole


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There are too much older poisoned garment myths:

Hercules died from wearing a poisoned garment given him by his wife 
Deianira when he was having an affair with another woman.

Jason's ex, Medea, poisoned a garment and gave it as a wedding gift to 
his new bride Glauce, who died from wearing it.

Fran
Lavolta Press
http://www.lavoltapress.com


TeaRoseS@aol.com wrote:
>  
> So, is this the origin, then, of the old "Poisoned Prom Dress" urban  legend? 
>  
> _http://www.snopes.com/horrors/poison/dress.htm_ 
> (http://www.snopes.com/horrors/poison/dress.htm) 
>  
> Or this one?
>  
> _http://www.snopes.com/horrors/poison/coolidge.htm_ 
> (http://www.snopes.com/horrors/poison/coolidge.htm) 
>  
> Maybe I should forward this thread to Snopes.com. :)
>  
>
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Subject: Re: [h-cost] RE back side lacing was:Stomacher  --a photo demo
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Here are a few examples from the Bradfield book Bjarne mentioned:
Early style (1803-10):
Apron front:
http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p88.jpg
anther apron style:
http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p89.jpg
http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p90.jpg
Back closure ties and button:
http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p92.jpg
Back closure, ties and hooks:
http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p94.jpg
Another variation of the apron style:
http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p96.jpg

Here's a later style (1815ish) with back hooks:
http://www.uvm.edu/~hag/regency/evening-extant/1815-ball-peach-mccord.JPG
and one with ties (c. 1823):
http://www.uvm.edu/~hag/regency/evening-extant/1823-clear-blue-bowes.jpg


It's a bit odd to modern eyes because there are gaps, but beneath the 
gaps would have been a shift, probably some form of stays, and a petticoat.

- Hope
(who is currently in the throes of pulling together materials for a 
presentation to the local English Country Dance Group on early 19th 
century gowns, probable title "It's All in the Details, or, How to Make 
   a Regency Ballgown that Doesn't Look Like a Hippie Prom Dress")

Jean Waddie wrote:
> This pink dress reminded me... a friend is making a Regency style gown, 
> for a party so it doesn't have to be particularly authentic, but neither 
> of us can work out - how/where do they fasten?  Some have buttons down 
> the centre back, but most don't seem to have any visible opening. 
> Please, somebody, give us a clue?
> 
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Oh my, oh my...you have been busy...love the prince and Thumbelina.  
Thanks for sharing.
Sg 

>
> http://www.kipar.org/salacious-historian/sewingprojects.html
>

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> This pink dress reminded me... a friend is making a Regency 
> style gown, for a party so it doesn't have to be particularly 
> authentic, but neither of us can work out - how/where do they 
> fasten?  Some have buttons down the centre back, but most 
> don't seem to have any visible opening. 
> Please, somebody, give us a clue?

To add a bit to what Bjarne said, some of the early round gowns are only tied (apparently with no front back or side opening, just draw strings all the way around for waist and neck). The Kyoto Institute's new (ish) book _Fashion_ has a gown in this style. There are some that have drawstrings with a back opening (frequently with one button at the waist) as well as the drawstrings. Nancy Bradford shows a number of those.

Janet Arnold shows at least one gown (and I think more) that are bib front gowns; they tend to be a multi-layered bodice in the front with the lining being pinned center front and the bib being pinned or buttoned to the shoulder area of the neck line -- it's kind of like an apron bib front being pinned up rather then tied. Here's my attempt at ASCII drawing: the vertical lines in the center are supposed to represent the two sides pinned together  

)|	 	|(
  ----------
|	|	 |
|	|	 |
 ------------
 \		 \
  \		  \
   ------------

This is a nice dress diary for a bib front dress, that should help show what I'm trying to describe. http://www.koshka-the-cat.com/drop_front.html

Hope this helps!
  	-sunny

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I should have added: several have a tie at the back neck that is 
actually a drawstring that goes through the entire neckline. I used this 
method in my first ballgown (from Bradfield, 1823). It worked a treat! 
Just pulling it lightly closed cinched up the entire neckline so that 
the bodice fitted smoothly--no gaps around the bust, neck, or shoulders.

- Hope

> Here's a later style (1815ish) with back hooks:
> http://www.uvm.edu/~hag/regency/evening-extant/1815-ball-peach-mccord.JPG
> and one with ties (c. 1823):
> http://www.uvm.edu/~hag/regency/evening-extant/1823-clear-blue-bowes.jpg

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And you only engage in Pre-Emptive Naval Salvage........ <G>

Katheryne
who has an alternative persona who is in that sort of 'work'

----- Original Message -----
> Pirate? Good heavens, no! Pirating will get you hanged. This, on 
> the other hand, is an honest merchant ship, with private backing from 
> several Lords, and a letter of marque from the crown. :)
> Dawn

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Subject: RE: [h-cost] 265: To dye for: Poison: "Paris green"
Date: Mon, 20 Mar 2006 21:50:49 -0800
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Time to re-read _Strong Poison_ by Dorothy Sayers.  Arsenic properties
provide the hook on which it's hung (along with the villain)

Wanda Pease



> In other words, maybe they were a little more willing to be
> slowly poisoned
> by arsenic if it made them look good than we are be in the days
> of safe(ish)
> OTC cosmetics.  We actually need a small amount of arsenic in our
> diet for
> health, anyway, though I expect that these pigments exceeded that amount.
>
> -E House


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] K of Aragon necklace
Date: Mon, 20 Mar 2006 22:41:13 -0800
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It looks like a lot of the "chain mail" chains I've seen in the SCA, but
made with precious metals.

Wanda
>
> A year or so ago, someone mentioned a modern name for a style of chain
> necklace that looked similar to the longer one K of A wears in this
> portrait:
> http://englishhistory.net/tudor/monarchs/aragon.html
> Does anyone remember what that name was?  The modern version
> wasn't exactly
> like the one in the portrait, but it was definitely similar.
>
> -E House


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Date: Tue, 21 Mar 2006 07:41:02 +0000
From: Caroline <carolineebuckley@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Oseberg textiles
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Status: RO

That is great news.  I hope there will be a reasonable amount of it in
English.

On 20/03/06, Beth and Bob Matney <bmatney@alltel.net> wrote:
>
> OK, here's the details on the book. As they are from Arne Emil
> Christensen,
> I tend to trust them. I'm still awaiting details on how to order.
>
> Beth Matney
>
> >1)      Title will be: Osebergfunnet IV - Tekstilene (The Oseberg find  -
> >The textiles)
> >2)      Will be published around May 6th 2006.
> >3)      Cost will be 1000 Norw. Kroner (about 140-150 dollars)
> >4)      Book size will be 24 x 36 centimetres standing
> >5)      Number of pages: 408
> >6)      Approx. 1200 copies will be printed.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>



--
Caroline

"We don't stop playing because we grow old; we grow old because we stop
playing."
G B Shaw
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <BAY113-F256EF949A39BC4B45D2D65D3DB0@phx.gbl>
Subject: Re: [h-cost] Costumers in Edinburgh?
Date: Tue, 21 Mar 2006 11:26:16 +0100
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Hi Nicole,
I have followed your projekts all the time. They are wonderfull all, but my 
favourite is Madame Scarlet!

Bjarne

----- Original Message ----- 
From: "Nicole Kipar" <marquesate@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, March 21, 2006 12:32 AM
Subject: Re: [h-cost] Costumers in Edinburgh?


> Thank you ever so much for your kind words, Bjarne, Saragrace and Jean. 
> :-) I do have a little bit to show, even though I didn't have much time 
> for website updates. That was an understatement, I had no time. Here are 
> some of my latest costumes & evening outfits:
>
> http://www.kipar.org/salacious-historian/sewingprojects.html
>
> Nicole
>
> --------------------
> "If you think education is expensive, try ignorance."
>
>
>
>
>>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>>Reply-To: Historical Costume <h-costume@indra.com>
>>To: "Historical Costume" <h-costume@indra.com>
>>Subject: Re: [h-cost] Costumers in Edinburgh?
>>Date: Mon, 20 Mar 2006 23:41:47 +0100
>>
>>Oh yes that goes for me two!!!
>>Bjarne
>>
>>----- Original Message ----- From: "WickedFrau" <wickedfrau@msn.com>
>>To: "Historical Costume" <h-costume@indra.com>
>>Sent: Monday, March 20, 2006 8:54 PM
>>Subject: Re: [h-cost] Costumers in Edinburgh?
>>
>>
>>>Sorry I can't be of help to you, but I sure miss you on this list.  I 
>>>have often wondered what happened to several of you "oldies but goodies" 
>>>and why you disappeared.  Glad it is nothing we did!  Good luck in 
>>>finding a someone nearby.  Drop a line to us once in awhile and let us 
>>>know of your costuming endeavors....  Might not be my time period, but I 
>>>still love hearing about them!
>>>
>>>Sg
>>>
>>>_______________________________________________
>>>h-costume mailing list
>>>h-costume@mail.indra.com
>>>http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>
>>_______________________________________________
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>
> _________________________________________________________________
> Are you using the latest version of MSN Messenger? Download MSN Messenger 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <34e.33fae7.315097ae@aol.com> <441F4E79.908@reddawn.net>
Subject: Re: [h-cost] Simplicity 4219
Date: Tue, 21 Mar 2006 11:42:48 +0100
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> The one in Waugh has a 4" collar, which is what the pattern has. Are you
> saying the collars in the 1700's would have been a lot narrower than that? 
> She dates the shirt 1700-1810.

This collar is supposed to be bended like an ordinary collar, so it is 
right.
I examined the examples i have. I was wrong about the stock kravat invented 
in mid century, actually they started this fashion in the 1725-30ies.
>
> Do you know if a ruffle on the front would have been worn early in the 
> 18th century? That's mostly what I was interested in finding out.
I really dont know, my guess is yes, as the slash or slit, dont have any 
closures except in the neck, so to hide the chest ----------yes.
But the necktie you are going to wear will hide the neck slit.
>
> The neck stock says mid 19th century to me and I was planning on not using 
> it.
>
>
>>  I  really hate the laced up the placket "pirate" look.
>
> Agree with you on the laced up look. Ew. FWIW, there are two styles of 
> shirt in the pattern, A&B seem historically based, C&D use different 
> sleeves and collars, no gussets,  and so forth.
>
>
> Dawn
>
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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] Simplicity 4219
Date: Tue, 21 Mar 2006 11:44:42 +0100
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Hi Albertcat,
Those shirts i have seen all has shoulder seams, some even has reinforcement 
in the shoulders. But you are right about the neck gussets. But its easy to 
make, i have not had any difficulties in making them.

Bjarne
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, March 21, 2006 1:53 AM
Subject: Re: [h-cost] Simplicity 4219


> In a message dated 3/20/2006 7:12:10 P.M. Eastern Standard Time,
> dawn@reddawn.net writes:
>
> instead  of making measurements of my husband.
> ****************************
>
>
>
>
> For a real 18th century shirt, the only measurement you need is the neck,
> really. It's a one size fits all kinda affair. For instance, the sleeves 
> are
> blouse-y so as to fit everyone. Thus we also get sleeve garters.
>
> But if the pattern is rectangles, then go for it! The only "difficult"
> things about a real 18th century shirt are the neck gussets...set in at 
> where  the
> shoulder seam would meet the neck....but there are no shoulder seams in a
> real  18th century shirt. It's cut like a poncho. These triangular gussets 
> set
> in at the neckline help give the shirt a "shoulder slope" that we just cut
> into a shirt nowadays with shoulder seams. These gussets are a great 
> design
> feature, I think.
> _______________________________________________
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	<6.2.3.4.0.20060320165323.01def140@127.0.0.1>
Subject: Re: [h-cost] Simplicity 4219
Date: Tue, 21 Mar 2006 08:38:33 -0500
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My immediate take of this pattern item is that the book-holder is meant to
be a "Cleric" and thus gives an illustration for a third class of users for
the pattern.  It almost looks as if it were a cassock of some style,,,even
with the fallen lace band.

kathleen
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 11:57 AM
Subject: Re: [h-cost] Simplicity 4219


> At 16:49 20/03/2006, you wrote:
> >This is a new pattern for costume shirts. I was wondering if anyone
> >can identify view A (lower right corner with the book) and tell me
> >what time period it's supposed to be from:
> >
> >http://www.simplicity.com/assets/4219/4219.jpg
> >
> >
> >
> >Dawn
>
>
> Apparently, here in England, a shirt like this is sold as a "poet"
> shirt. (Not sure which one this refers to, although I think maybe
> bottom left  - was talking to someone at the weekend about this
> pattern but as I wasn't planning on buying, didn't register all of
> the info!) I think as the shirt you refer to has a black "stock" it
> is likely to be that loose period "Regency" meaning anything from
> late 18th to mid 1840's, according to some descriptions I've read.
>
> Suzi
>
>
> _______________________________________________
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To: "Historical Costume" <h-costume@indra.com>
References: <004401c64b3d$84f93290$7c83fea9@CPQ21932199711>	<IDEHICPIJOEBPADHEOGPOENFGBAA.otsisto@socket.net><3+UffMH2eyHEJwvD@montgomerie.demon.co.uk>
	<441F63C3.4070700@uvm.edu>
Subject: Re: [h-cost] RE back side lacing was:Stomacher  --a photo demo
Date: Tue, 21 Mar 2006 09:12:24 -0500
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Status: RO

I forget which pattern I followed, but the instructions for the bib front
has a inner bodice front that hooks center front. The 'bib' is sewn at the
right shoulder and armseye.  The other side flips up and is fastened with
snaps across the shoulder and down the left side following the seam line
which includes the other armseye.
The skirt front is sewn to the lining (Bodice) to the center front and this
too is attached to the L side seam with hooks/eyes and snaps.

One of the antique garments that I have seen was of a shear dimity with a
floral pattern.  Th left side of the under bodice had a strip  of about
4"this patterned cloth sewn over the bodice, so that when closed by the bib,
would appear the same as the outer cover...if there were gaps.

Putting this dress on can be done by one's self...A plus!
Kathleen
----- Original Message ----- 
From: "Hope Greenberg" <hope.greenberg@uvm.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 20, 2006 9:24 PM
Subject: Re: [h-cost] RE back side lacing was:Stomacher --a photo demo


>
> Here are a few examples from the Bradfield book Bjarne mentioned:
> Early style (1803-10):
> Apron front:
> http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p88.jpg
> anther apron style:
> http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p89.jpg
> http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p90.jpg
> Back closure ties and button:
> http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p92.jpg
> Back closure, ties and hooks:
> http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p94.jpg
> Another variation of the apron style:
> http://www.uvm.edu/~hag/regency/books-helps/bradfield-costume-p96.jpg
>
> Here's a later style (1815ish) with back hooks:
> http://www.uvm.edu/~hag/regency/evening-extant/1815-ball-peach-mccord.JPG
> and one with ties (c. 1823):
> http://www.uvm.edu/~hag/regency/evening-extant/1823-clear-blue-bowes.jpg
>
>
> It's a bit odd to modern eyes because there are gaps, but beneath the
> gaps would have been a shift, probably some form of stays, and a
petticoat.
>
> - Hope
> (who is currently in the throes of pulling together materials for a
> presentation to the local English Country Dance Group on early 19th
> century gowns, probable title "It's All in the Details, or, How to Make
>    a Regency Ballgown that Doesn't Look Like a Hippie Prom Dress")
>
> Jean Waddie wrote:
> > This pink dress reminded me... a friend is making a Regency style gown,
> > for a party so it doesn't have to be particularly authentic, but neither
> > of us can work out - how/where do they fasten?  Some have buttons down
> > the centre back, but most don't seem to have any visible opening.
> > Please, somebody, give us a clue?
> >
> _______________________________________________
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Date: Tue, 21 Mar 2006 14:19:24 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Simplicity 4219
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The ruffle looks to me like an early 19th century shirt-frill. Clerical bands are not ruffled - and a cassock is not a shirt but a close-fitting coat with long skirts.

Kate Bunting
Librarian and 17th century reenactor

>>> rmitchell@washjeff.edu 21/03/2006 13:38 >>>
My immediate take of this pattern item is that the book-holder is meant to
be a "Cleric" and thus gives an illustration for a third class of users for
the pattern.  It almost looks as if it were a cassock of some style,,,even
with the fallen lace band.

kathleen
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Subject: Re: [h-cost] RE: Regency Dress Closures (was back side lacing)
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In a message dated 3/20/2006 10:30:48 P.M. Eastern Standard Time,  
sunshine_buchler@agilent.com writes:

There  are some that have drawstrings with a back opening (frequently with 
one button  at the waist) as well as the drawstrings. Nancy Bradford shows a 
number of  those.



I have seen some extant gowns that have hooks and eyes at center back, but  
only one at the neck and one at the waist--guess they didn't worry too much  
about gap-osis! 
 
Ann Wass
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Subject: [h-cost] Re: Oseberg textiles
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I hope so also. In the other four volumes of the Osebergfunnet, certain 
sets had very good English summaries.

Beth

At Tue, 21 Mar 2006 07:41:02 +0000, Caroline wrote:

>That is great news.  I hope there will be a reasonable amount of it in
>English.
>
>On 20/03/06, Beth and Bob Matney <bmatney@alltel.net> wrote:
> >
> > OK, here's the details on the book. As they are from Arne Emil
> > Christensen,
> > I tend to trust them. I'm still awaiting details on how to order.
> >
> > Beth Matney

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Subject: [h-cost] Princess Elizabeth sleeves
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Does anyone have a draft of the undersleeves for the pink/orange Princess Elizabeth dress. I've search the Internet and asked everyone I can find. I have the over sleeve but not the under sleeve that is rounded shape.
Becky
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Tue, 21 Mar 2006 14:49:30 +0100
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Subject: [h-cost] simplicity
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 Apparently, here in England, a shirt like this is sold as a "poet"
> shirt. (Not sure which one this refers to, although I think maybe
> bottom left  - was talking to someone at the weekend about this
> pattern but as I wasn't planning on buying, didn't register all of
> the info!) I think as the shirt you refer to has a black "stock" it
> is likely to be that loose period "Regency" meaning anything from
> late 18th to mid 1840's, according to some descriptions I've read.
>
> Suzi

Hi Suzi,
Actually it could also be a broad black silk ribbon tied round the neck with 
a bow, and attached to the wigbag in the back. That was high fashion in 1730

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <s4200b81.069@cluster1-gwise3-server.derby.ac.uk>
Subject: Re: [h-cost] Simplicity 4219
Date: Tue, 21 Mar 2006 10:00:04 -0500
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My apologies.  I meant Cotta.  I have seen some clerical formal garments
that have the lace ruffle. The sleeve style is what struck me as being
significant. The Presbyterian collar (also Methodist?) is the collar of
which you spoke, I believe.
Kathleen
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Tuesday, March 21, 2006 9:19 AM
Subject: Re: [h-cost] Simplicity 4219


> The ruffle looks to me like an early 19th century shirt-frill. Clerical
bands are not ruffled - and a cassock is not a shirt but a close-fitting
coat with long skirts.
>
> Kate Bunting
> Librarian and 17th century reenactor
>
> >>> rmitchell@washjeff.edu 21/03/2006 13:38 >>>
> My immediate take of this pattern item is that the book-holder is meant to
> be a "Cleric" and thus gives an illustration for a third class of users
for
> the pattern.  It almost looks as if it were a cassock of some style,,,even
> with the fallen lace band.
>
> kathleen
> ______________________________________________________________________
>
>
> _______________________________________________
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Date: Tue, 21 Mar 2006 10:27:25 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] 265: To dye for: Poison: "Paris green"
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I don't know how true this is but, back when I was in college as a theatre
major, we used to make set pieces (boulders, "stone" facings, etc.) by
hitting it with a blowtorch. Then, we were told that arsenic is  in
styrofoam, which is released when it is burned, so we burn in a well vented
area (outside). It seems that arsenic does not leave your system. Once it is
there it is there. Too much arsenic makes for unhappy campers...or set
builders.

Monica Spence


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of E House
Sent: Monday, March 20, 2006 2:18 PM
To: Historical Costume
Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"


----- Original Message -----
From: "Leslie Mundy" <LizzieM@rocketmail.com>
> Yes, there was/is a poison pigment made from arsenic
> that was used extensively in wallpaper in the 1800's.

This is just scuttlebutt, but I've heard that arsenic in small quantities
was used as a cosmetic aid until the early 20thC--apparently small amounts
improve the skin and hair's appearance, and make the pupils of one's eyes
widen creating the effect of larger eyes.  (That last might have been
belladonna; going on memory here.)

In other words, maybe they were a little more willing to be slowly poisoned
by arsenic if it made them look good than we are be in the days of safe(ish)
OTC cosmetics.  We actually need a small amount of arsenic in our diet for
health, anyway, though I expect that these pigments exceeded that amount.

-E House

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>Message: 2
>Date: Mon, 20 Mar 2006 09:33:59 -0800
>From: Lavolta Press 
>Subject: Re: [h-cost] Re: h-costume Digest, Vol 5, Issue 269
   
  Most of what I said was merely supporting statements for my main point, which I must not have made very clear...you can't expect or force others to live and operate by the same standards you hold yourself to.
   
  >>Having said all that--I only write to spec if you pay me. And you 
>>couldn't possibly pay me enough to use any emoticon, or to say "never 
>>say never" or some of the other pat phrases I see.  I suppose I can't 
>>expect anyone else to write to my specs (as above). But I also have 
>the 
>>right to say things the way I think is best.
 >  
>  I am glad that you recognize this. It is very much a manner of 
>communicating based on where you came from and how you were raised. For an 
>example, my mother-in-law's use of y'all, constant spewing of 
>malapropisms, and mispronounciation of simple words, i.e. "Lie-berry", "Walmark", 
>drive me up a wall, but I don't take umbrage or try to hold her up to 
>the standards of gramar and speech that I was raised with and still use. 
>It is just where she comes from. In a social group you accept one 
>another's differences with a smile.
>
>
>>Communicating in the manner of this list leaves out the standard 
>>communication tools we have when speaking with someone in person or 
>>even on the phone. They are just words on a screen and not tempered by 
>>someone's tone of voice.
>
>So is every written communication, back to the days of clay tablets. 
>Email is not new in that respect. It's just a letter.
   
  In basic truth, yes. But I still hold to my original comment that the nature of email, especially mailing lists such as this are not the same. The rapid nature of this written communication tool allows for virtually an immediate response, and so can allow for an absence of forethought before replying. If misunderstood, it is very simple to quickly provide more information, unlike traditional letter writing.
   
  >People's expertise can, and should, be judged on what they say about any 
>given subject at that given time. Not on whether they explicitly say "I 
>am an expert" or "I am not an expert." Whether the person thinks they 
>are an expert or not is irrelevant, as is whether their friends think so.

  Also as I stated before, on a mailing list such as this it is more likely for one to be communicating with others that are unknown, or not known well, but not with the same protocols as when writing a business communication. This provides greater opportunity for misunderstanding or misinterpretation. To state 'in my opinion' or 'from what I have found' tells people that do not know me that I do not claim to have a huge well of knowledge on the subject. (There are subjects other than costuming in which I would not preface a comment that way, not that I think I am an expert there but do have years of experience and study others may not.)
   
  "In my opinion" may also be a defensive mechanism for some. As you commented on the nasty nature of most groups you have found on the internet, so many are willing to 'flame' another person with whom they disagree, rather than to engage in a discussion of opinions. Making an "apology" in advance of a opinion might be an attempt by some to disarm the person or persons most likely to want to engage in an argument rather than a beneficial discussion of thoughts and ideas.
   
  But I do agree that there are many women in general who are not as forthright nor display as high a degree of confidence as they should or could.
   
  >
>> As for using 'in my opinion' to preface a comment - personally, I am 
>> no expert, and based on what little research I have done any comments I 
  >> have are merely an opinion based on that research. I know this. By 
  >>saying 'in my opinion', I am stating in a short addenda "This is what I 
>> think based on what I have learned so far. If anyone has more 
  >>information I would love to hear it". Then it is up to me to accept any 
>> other information tossed my way. It also says "I am not claiming to be 
  >> an expert". I think this is a generally accepted interpretation of 
>> such comments.
>
>And of course, in a public group other people are likely to respond to 
>whatever you have said. You don't need to explicitly give them the right 
>to do so. You also don't need to "accept" everything everyone else says 
>in the sense of agreeing with it.
  >
>Fran
>Lavolta Press
>http://www.lavoltapress.com
   
  Annette M

		
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    >Message: 9
>Date: Mon, 20 Mar 2006 12:48:13 -0700
>From: WickedFrau 
>Subject: Re: [h-cost] this list
>
>Hi Julie, you can post pictures here if you like. You can create a new 
>ablum. I sure wish someone would use it!
   
  I'll be attending Robin's lectures in Portland this weekend. With her permission I could post some pics? (I'm assuming she'll have a few examples to go with her topics)
   
  And of course, when the wedding costumes are all done I'll want to share, but that will have to wait til after June.
>
>http://www.picturetrail.com/gallery/view?username=hcostume
>The userid is: indra2006
>
>
>Sg
>
>Julie wrote:
>
>> Maybe I'm just too used to the Yahoo groups, but does this list have a 
>> files, photos & links section?
>> Julie
>>
   
  Annette M

		
---------------------------------
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Date: Tue, 21 Mar 2006 16:51:19 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] simplicity
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At 13:49 21/03/2006, you wrote:
>Apparently, here in England, a shirt like this is sold as a "poet"
>>shirt. (Not sure which one this refers to, although I think maybe
>>bottom left  - was talking to someone at the weekend about this
>>pattern but as I wasn't planning on buying, didn't register all of
>>the info!) I think as the shirt you refer to has a black "stock" it
>>is likely to be that loose period "Regency" meaning anything from
>>late 18th to mid 1840's, according to some descriptions I've read.
>>
>>Suzi
>
>Hi Suzi,
>Actually it could also be a broad black silk ribbon tied round the 
>neck with a bow, and attached to the wigbag in the back. That was 
>high fashion in 1730
>
>Bjarne


I don't think so Bjarne - I have pictures of that kind of ribbon and 
it is nowhere near that deep. It may be meant to be that kind, but it 
looks far more like a stock, like I saw at Bath, to me.

Suzi


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Subject: Re: [h-cost] simplicity
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Hi Suzi,
Yes sorry you are right. It is a stock. I looked at the painting by de Troy 
(The declaration of Love) where the gentlemens black ribbon is quite wide.
I also think in genneral with this shirt pattern, that you will need to 
ajust the collar to your period. The collars would not be that high, when 
wearing early 1700 shirt.

Bjarne
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 21, 2006 5:51 PM
Subject: Re: [h-cost] simplicity


> At 13:49 21/03/2006, you wrote:
>>Apparently, here in England, a shirt like this is sold as a "poet"
>>>shirt. (Not sure which one this refers to, although I think maybe
>>>bottom left  - was talking to someone at the weekend about this
>>>pattern but as I wasn't planning on buying, didn't register all of
>>>the info!) I think as the shirt you refer to has a black "stock" it
>>>is likely to be that loose period "Regency" meaning anything from
>>>late 18th to mid 1840's, according to some descriptions I've read.
>>>
>>>Suzi
>>
>>Hi Suzi,
>>Actually it could also be a broad black silk ribbon tied round the neck 
>>with a bow, and attached to the wigbag in the back. That was high fashion 
>>in 1730
>>
>>Bjarne
>
>
> I don't think so Bjarne - I have pictures of that kind of ribbon and it is 
> nowhere near that deep. It may be meant to be that kind, but it looks far 
> more like a stock, like I saw at Bath, to me.
>
> Suzi
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Um, has anybody thought about emailing and/or calling SImplicity and asking 
them what time period they intended for each shirt?

Julie

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Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"
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In a message dated 3/21/2006 11:46:17 A.M. Eastern Standard Time,  
monicaspence@optonline.net writes:

Then, we  were told that arsenic is  in
styrofoam, which is released when it is  burned, so we burn in a well vented
area (outside).


Another urban legend!  There is no arsenic in Styrofoam, and no  way the 
carbon compounds in it could "turn into" arsenic.  That  doesn't mean there aren't 
other noxious things being released,  though. 
 
I believe it is true about arsenic's building up in the system.  I  remember 
reading mysteries where the victims were poisoned slowly, over a long  period 
of time with small amounts, and it built up in the hair.
 
Ann Wass
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In a message dated 3/21/2006 11:45:45 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Hi  Suzi,
Actually it could also be a broad black silk ribbon tied round the  neck with 
a bow, and attached to the wigbag in the back. That was high  fashion in 1730



*****************
 
True true. Except there's no bag or "cue" [I can't remember or find  anywhere 
the real spelling of "cue" when it refers to a pony tail] in the  picture. It 
looks very 1820s.
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Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"
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Yet in Dorothy Sayers' "Strong poison", the murderer can share his victim's poisoned omelette because he has built up an immunity by taking small doses of arsenic over a long period!

Kate Bunting
Librarian and 17th century reenactor

>>> AnnBWass@aol.com 21/03/2006 17:14 >>>
 
>I believe it is true about arsenic's building up in the system.  I  remember 
>reading mysteries where the victims were poisoned slowly, over a long  period 
>of time with small amounts, and it built up in the hair.
 
>Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] K of Aragon necklace
Date: Tue, 21 Mar 2006 18:15:37 +0000
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I do have a good set of instructions from one of my jewelry making books that explains how this style of chain can be made, if anyone is interested.

Roscelin

Going back into blankets to beat of the flu.... sniffle....


> ----- Original Message ----- 
> From: "klh" <khanson@kc.rr.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, March 20, 2006 3:51 PM
> Subject: RE: [h-cost] K of Aragon necklace
> 
> 
> > It's difficult to see the chain's design clearly in that portrait, but it
> > appears reminiscent of a Byzantine chain link style.
> >
> > Talia
> >
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> > Behalf Of E House
> > Sent: Monday, March 20, 2006 2:08 PM
> > To: Historical Costume
> > Subject: [h-cost] K of Aragon necklace
> >
> >
> > A year or so ago, someone mentioned a modern name for a style of chain
> > necklace that looked similar to the longer one K of A wears in this
> > portrait:
> > http://englishhistory.net/tudor/monarchs/aragon.html
> > Does anyone remember what that name was?  The modern version wasn't 
> > exactly
> > like the one in the portrait, but it was definitely similar.
> >
> > -E House
> >
> > _______________________________________________
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Kiloran@worldnet.att.net wrote:
> Um, has anybody thought about emailing and/or calling SImplicity and 
> asking them what time period they intended for each shirt?


	Ok, I looked at the designer's name (it's Andrea Schewe) and asked. the 
response on it is that it's essentially designed for the mass market, 
not an exact repro . The basic shapes are more closely patterned after a 
late 18C, early 19C than the McCall's similar pattern.  The shoulders 
are sloped  instead of putting in the little square gusset near the 
neck.  There are 2 sleeves.  One that has the underarm gusset and a 
larger more dramatic sleeve with the gusset worked in and elastic at the 
wrist. the kind of stock thing, was put in to add costuming interest. 
and it's aimed at the genreal market for anyone to make rather than the 
re-enactor market (that's Martha McCain's area).

	Hope this helps.

	-Judy Mitchell
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Thanks Judy! I guess that answers that question. :)


Dawn


Judy Mitchell wrote:

> Kiloran@worldnet.att.net wrote:
> 
>> Um, has anybody thought about emailing and/or calling SImplicity and 
>> asking them what time period they intended for each shirt?
> 
> 
> 
>     Ok, I looked at the designer's name (it's Andrea Schewe) and asked. 
> the response on it is that it's essentially designed for the mass 
> market, not an exact repro . The basic shapes are more closely patterned 
> after a late 18C, early 19C than the McCall's similar pattern.  The 
> shoulders are sloped  instead of putting in the little square gusset 
> near the neck.  There are 2 sleeves.  One that has the underarm gusset 
> and a larger more dramatic sleeve with the gusset worked in and elastic 
> at the wrist. the kind of stock thing, was put in to add costuming 
> interest. and it's aimed at the genreal market for anyone to make rather 
> than the re-enactor market (that's Martha McCain's area).
> 
>     Hope this helps.
> 
>     -Judy Mitchell
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> 

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Bjarne,  
    What is the link to you website again. I have somebody I would like to show your work to.
                            Tani 
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Subject: RE: [h-cost] Princess Elizabeth sleeves
Date: Tue, 21 Mar 2006 13:09:57 -0600
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Try finding a copy of Jean Hunnisett's "Period Costume for Stage and
Screen-1500-1800" Inside is not only a scale pattern of the
oversleeve(cut on the bias), but two variations of the undersleeve as
well.  The so-called "Jane Grey" sleeve, based on a portrait of Jane
Grey, recently reidentified as Queen Catheryn Parr, is just about
identical to the "Princess Elizabeth" portrait.

Hope this helps.

Cindy Abel 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Becky
Sent: Tuesday, March 21, 2006 10:27 AM
To: h-costume@mail.indra.com
Subject: [h-cost] Princess Elizabeth sleeves

Does anyone have a draft of the undersleeves for the pink/orange
Princess Elizabeth dress. I've search the Internet and asked everyone I
can find. I have the over sleeve but not the under sleeve that is
rounded shape.
Becky
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Hi,
My links are below:

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/



----- Original Message ----- 
From: <taniampembroke@aol.com>
To: <h-costume@mail.indra.com>
Sent: Tuesday, March 21, 2006 8:08 PM
Subject: [h-cost] Bjarne


> Bjarne,
>    What is the link to you website again. I have somebody I would like to 
> show your work to.
>                            Tani
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Hi,
I am going to make a friend an embroidered mid 18th century jacket with a 
front closed lace over stomacher version. The embroidery is going to be like 
the sleave of a mantua in Costume in Detail "A tangled garden of chenille 
threads"
My problem is that i have to use huge amounts of silk chenille threads, i 
have plenty undyed. So how do i get a dye, that will give me a nice dark 
cherry red? And a moss green?
Anyone tryed these collours?
Perhaps Dharma Trading have, i should have looked before asking! sorry

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: RE: [h-cost] Princess Elizabeth sleeves
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I have seen people measure wrist to crook of arm, double that and measure
and cut a circle out, then fold in half making a half circle, then cut the
half circle in half and then you have two sleeves.
This pattern seems to work but I my self have not made these.
Try this if you can't find any other pattern for them.
De

-----Original Message-----
Does anyone have a draft of the undersleeves for the pink/orange Princess
Elizabeth dress. I've search the Internet and asked everyone I can find. I
have the over sleeve but not the under sleeve that is rounded shape.
Becky


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From: Althea Turner <althea@alfalfapress.com>
Subject: Re: [h-cost] Re: this list
Date: Tue, 21 Mar 2006 11:48:36 -0800
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Hello,
I will be at the lectures, also.  Yeah!
Althea


On Mar 21, 2006, at 8:51 AM, Kahlara wrote:

>
>> Message: 9
>> Date: Mon, 20 Mar 2006 12:48:13 -0700
>> From: WickedFrau
>> Subject: Re: [h-cost] this list
>>
>> Hi Julie, you can post pictures here if you like. You can create a  
>> new
>> ablum. I sure wish someone would use it!
>
>   I'll be attending Robin's lectures in Portland this weekend. With  
> her permission I could post some pics? (I'm assuming she'll have a  
> few examples to go with her topics)
>
>   And of course, when the wedding costumes are all done I'll want  
> to share, but that will have to wait til after June.
>>
>> http://www.picturetrail.com/gallery/view?username=hcostume
>> The userid is: indra2006
>>
>>
>> Sg
>>
>> Julie wrote:
>>
>>> Maybe I'm just too used to the Yahoo groups, but does this list  
>>> have a
>>> files, photos & links section?
>>> Julie
>>>
>
>   Annette M
>
> 		
> ---------------------------------
>  Yahoo! Mail
>  Use Photomail to share photos without annoying attachments.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

Althea Turner
althea@alfalfapress.com

"Ignorant themselves of the forces of nature and wanting to have  
company in their ignorance, they don't want people to look into  
anything; they want us to believe like peasants and not ask the  
reasons behind things."
William of Conches, 12th century


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Subject: Re: [h-cost] Princess Elizabeth sleeves
Date: Tue, 21 Mar 2006 14:54:31 -0500
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I have ordered that book but it has not arrived yet. YET!!! I'm still 
waiting and waiting. I wish it would get here so I can stay working on the 
costume. I've heard it was a good book and ordered it. If I'm going to be 
creating costumes from this era, I' need all the documentation I can get. I 
have both Arnold books but nothing on these sleeves. I borrowed the 
QE1Unlocked. It was a great book for the details but nothing on these 
sleeves. I'm researching it as best I can.
Thanks for all the help form the list members.
----- Original Message ----- 
From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 21, 2006 2:09 PM
Subject: RE: [h-cost] Princess Elizabeth sleeves


> Try finding a copy of Jean Hunnisett's "Period Costume for Stage and
> Screen-1500-1800" Inside is not only a scale pattern of the
> oversleeve(cut on the bias), but two variations of the undersleeve as
> well.  The so-called "Jane Grey" sleeve, based on a portrait of Jane
> Grey, recently reidentified as Queen Catheryn Parr, is just about
> identical to the "Princess Elizabeth" portrait.
>
> Hope this helps.
>
> Cindy Abel
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Becky
> Sent: Tuesday, March 21, 2006 10:27 AM
> To: h-costume@mail.indra.com
> Subject: [h-cost] Princess Elizabeth sleeves
>
> Does anyone have a draft of the undersleeves for the pink/orange
> Princess Elizabeth dress. I've search the Internet and asked everyone I
> can find. I have the over sleeve but not the under sleeve that is
> rounded shape.
> Becky
> _______________________________________________
> 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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On Tue, 21 Mar 2006, Althea Turner wrote:

> I will be at the lectures, also.  Yeah!

Sounds like there will be quite a large h-cost contingent! Please
introduce yourselves when you have a chance -- but don't be worried if I
have trouble connecting names with faces; I'm always bad with that.

--Robin

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The shirt with the black "tie" looks to be Post Regency (Georgian?) 1820s or
30s. Though I don't believe this is true to the style but designed to look
like that type of shirt.
De

-----Original Message-----
Hi  Suzi,
Actually it could also be a broad black silk ribbon tied round the  neck
with
a bow, and attached to the wigbag in the back. That was high  fashion in
1730


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From: "Silvara" <silvaragreenleaf@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"
Date: Tue, 21 Mar 2006 12:10:18 -0800
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if you are looking for good info on poisons the book A Writer's Guide to
Poisons, has all the details about how the poison gets into the, body early
signs and how the death occurs etc.

Silvara


> [Original Message]
> From: Kate M Bunting <K.M.Bunting@derby.ac.uk>
> To: <h-costume@indra.com>
> Date: 3/21/2006 9:41:34 AM
> Subject: Re: [h-cost] 265: To dye for: Poison: "Paris green"
>
> Yet in Dorothy Sayers' "Strong poison", the murderer can share his
victim's poisoned omelette because he has built up an immunity by taking
small doses of arsenic over a long period!
>
> Kate Bunting
> Librarian and 17th century reenactor
>
> >>> AnnBWass@aol.com 21/03/2006 17:14 >>>
>  
> >I believe it is true about arsenic's building up in the system.  I 
remember 
> >reading mysteries where the victims were poisoned slowly, over a long 
period 
> >of time with small amounts, and it built up in the hair.
>  
> >Ann Wass
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Subject: [h-cost] Book on Lace Question
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Does anyone have the book "Lace in Fashion: From the 16th to the 20th
Century" by Pat Earnshaw?

I'm looking less to have the book for the lace as the reported two images of
16th/17th century children with dolls.  I've seen the cover of the book with
one of those images, but I'm looking to find out who the subject/artist of
the other image is.

thanks
alex
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Book on Lace Question
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I have it right here, but i cant understand what it is you want?

Bjarne


----- Original Message ----- 
From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 21, 2006 9:10 PM
Subject: [h-cost] Book on Lace Question


Does anyone have the book "Lace in Fashion: From the 16th to the 20th
Century" by Pat Earnshaw?

I'm looking less to have the book for the lace as the reported two images of
16th/17th century children with dolls.  I've seen the cover of the book with
one of those images, but I'm looking to find out who the subject/artist of
the other image is.

thanks
alex
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Subject: [h-cost] Re: arsenic
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It does stay in the body, that's how they test for it. I read a murder
mystery once based on the idea that if you feed someone small bits of
arsenic every day, they die if you withhold it! I don't know if that one is
true or not.

Gail Finke


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Date: Tue, 21 Mar 2006 20:34:39 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] RE: Regency Dress Closures (was back side lacing)
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Thank you all so much for your help - especially Hope for posting all 
those scans.  I think "How to Make a Regency Ballgown that Doesn't Look 
Like a Hippie Prom Dress" is almost exactly where my friend is at!

And wouldn't you just know it - why can't we see how they fastened these 
things?  Because they hid it from us!  Honestly, you'd think people 
would have a bit of consideration for future historians when they 
designed these fashions ;-)

Jean
-- 
Jean Waddie
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From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Book on Lace Question
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There are suppose to be two paintings or other type of images of children
with "fashion dolls" of the 16th and 17th century pictured in the book.  I
am looking to find out who the images are of or who the artists of these
images are, to see if they're something I already have, or if I need to get
a copy of this book so I can add those to my doll image collection.

thanks
alex


On 3/21/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> I have it right here, but i cant understand what it is you want?
>
> Bjarne
>
>
> ----- Original Message -----
> From: "Alexandria Doyle" <garbaholic@gmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, March 21, 2006 9:10 PM
> Subject: [h-cost] Book on Lace Question
>
>
> Does anyone have the book "Lace in Fashion: From the 16th to the 20th
> Century" by Pat Earnshaw?
>
> I'm looking less to have the book for the lace as the reported two images
> of
> 16th/17th century children with dolls.  I've seen the cover of the book
> with
> one of those images, but I'm looking to find out who the subject/artist of
> the other image is.
>
> thanks
> alex
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Subject: [h-cost] 265: To dye for: Poison: "Paris green"
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Arsenic is a natural metalloid and living organisms 
actually require it. It is present in almost all the
drinking water on the planet. Long-term exposure can
have serious health side-effects, but arsenic is
quickly flushed from the system.

Besides the History Magazine article I cited before 
(http://www.history-magazine.com/arsenic.html) arsenic
has also been used through the ages, notably by horse
traders, to fatten aged and scrawney animals for sale.
Arsenic was introduced into the animals diet gradually
over a number of weeks, causing them to seem to "put
on flesh." Withdrawing the arsenic quickly usually
resulted in death.

Medicinally, one of the best-known arsenic 
preparations is Fowler's Solution, which was used
beginning in the 19th century to treat skin diseases,
syphilis, digestive problems and other internal
ailments. Another, melarsaprol, was prescribed to
treat African sleeping sickness. Today we use arsenic
in making pressure treated lumber-- which is why it
should never be used indoors, or burned.

Further reading about arsenic:
http://www.dartmouth.edu/~toxmetal/TXQAas.shtml

Here's a story-- and it IS a story only-- about why
the English nobility had white hair and why modern
judges wear white wigs:
http://www.chrononhotonthologos.com/lawnotes/arsenic.htm

--Leslie





Leslie Mundy, DCC  Office Hours: M-W-F Noon-5:00
John Carter Brown Library, Box 1894, Brown University
Providence, RI 

Just think...
"Somewhere a butterfly, dreaming that it is Chuang Chou,
flutters its wings and creates a distant hurricane."
http://NewMoon2000.tripod.com/oneway/indexnavigator.html

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I've read this also in a novel.  Apparently in the mid to late 1800's the
arsenic was considered good for you, in those small amounts.  A woman
murdered her husband by withholding it from her husband.  Same book also
mentioned that it was used in perserving bodies during the American civil
war era, and that the arsenic could leech from those bodies into the ground,
to the well near by and thereby poisoning someone who drank said water a
century later.

alex


On 3/21/06, Gail & Scott Finke <gailscott@eos.net> wrote:
>
>
> It does stay in the body, that's how they test for it. I read a murder
> mystery once based on the idea that if you feed someone small bits of
> arsenic every day, they die if you withhold it! I don't know if that one
> is
> true or not.
>
> Gail Finke
>
>
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Subject: Re: [h-cost] RE: Regency Dress Closures (was back side lacing)
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In a message dated 3/21/2006 3:36:34 P.M. Eastern Standard Time,  
anne@montgomerie.demon.co.uk writes:

Because  they hid it from us!  Honestly, you'd think people 
would have a bit  of consideration for future historians when they 
designed these fashions  ;-)



There are a couple of fashion plates that show lacing up the back.
 
Ann
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Subject: [h-cost] Elizabethan doublets, hooks and eyes at waist
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Well, I'm constructing one, and am almost at the point where I have to 
decide what to do about lacing the doublet to the waistband of the 
nethergarment. (petticoat, venetians)

The style I am working on has eyelets right through the skirts to point the 
two garments together. I have seen hooks and eyes being used too. The thing 
is, a friend of mine and I are wondering why have hooks and eyes on a lacing 
strip that already has eyelets worked on it. See figure 152 page 24 of Janet 
Arnold's patterns of fashion.

It says "Metal eye stitched to lacing strip inside waist od doublet in fig 
146. A selvage cut from the satin is used to neaten the seam just above the 
eyelet holes. Hooks and eye are the new method of supporting the breeches 
and soon replace points."

Why would the tailor use both?  Maybe because the doublet was worn with a 
new pair of breeches?

I'd appreciate any comment on this, I am curious to hear your ideas.
Kelly 
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Date: Tue, 21 Mar 2006 21:24:05 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Elizabethan doublets, hooks and eyes at waist
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At 21:09 21/03/2006, you wrote:
>Well, I'm constructing one, and am almost at the point where I have 
>to decide what to do about lacing the doublet to the waistband of 
>the nethergarment. (petticoat, venetians)
>
>The style I am working on has eyelets right through the skirts to 
>point the two garments together. I have seen hooks and eyes being 
>used too. The thing is, a friend of mine and I are wondering why 
>have hooks and eyes on a lacing strip that already has eyelets 
>worked on it. See figure 152 page 24 of Janet Arnold's patterns of fashion.
>
>It says "Metal eye stitched to lacing strip inside waist od doublet 
>in fig 146. A selvage cut from the satin is used to neaten the seam 
>just above the eyelet holes. Hooks and eye are the new method of 
>supporting the breeches and soon replace points."
>
>Why would the tailor use both?  Maybe because the doublet was worn 
>with a new pair of breeches?
>
>I'd appreciate any comment on this, I am curious to hear your ideas.


It could be that the hook and eye were added by the tailor at a later 
date. We cannot know whether they were used before, after, or with 
the eyelet holes. Possible conversation could go something like "I'm 
not sure I trust those newfangled hooks and eyes. Maybe you could try 
with just a pair for now, and if I like them, you can put a set on my 
next suit."

Had a similar thing happen to me with customers!

Suzi


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Subject: Re: [h-cost] Princess Elizabeth sleeves
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----- Original Message ----- 
From: "Becky" <zeartiste@hotmail.com>
To: <h-costume@mail.indra.com>
Sent: Wednesday, March 22, 2006 3:27 AM
Subject: [h-cost] Princess Elizabeth sleeves


Does anyone have a draft of the undersleeves for the pink/orange Princess 
Elizabeth dress. I've search the Internet and asked everyone I can find. I 
have the over sleeve but not the under sleeve that is rounded shape.
Becky
_______________________________________________
Try this pattern 
http://photos.ladybrooke.com/sca/images/velvettudorgown/sleevepattern.jpg 
it's almost the same as Jean Hunnisett's pattern except that instead of the 
line from point F to point F going straight across there is an upward curve 
on the outside edges which means that it is longer over the outside of your 
elbow than the inside, giving you room to move but still preventing a gap 
between your undersleeve and your outer sleeve.
HTH
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Oseberg textiles
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On Tue, 21 Mar 2006 07:41:02 +0000, Caroline <carolineebuckley@gmail.com>  
wrote:

> That is great news.  I hope there will be a reasonable amount of it in
> English.


There will be english summaries. The book itself will be in norwegian and  
swedish according to Arne Emil Christensen.

Gunvor


-- 
"Jeg har sagt ja og nei og DA får du lov"
Anders (nesten 4 år)
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Subject: Re: [h-cost] Book on Lace Question
Date: Tue, 21 Mar 2006 23:03:09 +0100
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That will be plate 127.
"All three childrean wear elaborate clothes, the boy and elder girl with a 
suggestion of a farthingale. Their varying collar shapes, and upright cuffs, 
are edged with bobbin lace imitating punto in aria. All three have broad 
shoe roses, and their sashes are deeply fringed with gold lace. The boy 
wears a doublet, not a bodice, with his skirt, and he carries a sword. The 
youngest child´s gocart stands at the side, while her sister holds her 
leading strings. The painting is dated 161-, entitled James I familey´, and 
the ages of the children given as 5, 2, 4. The dates of birth of James´s 
three eldest - Henry, Elizabeth and Margaret, born in 1594, 1596 and 1598 
respectively - make1600 or 1601 a likely year for the painting, Robert 
Peake.

Bjarne

----- Original Message ----- 
From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 21, 2006 9:45 PM
Subject: Re: [h-cost] Book on Lace Question


There are suppose to be two paintings or other type of images of children
with "fashion dolls" of the 16th and 17th century pictured in the book.  I
am looking to find out who the images are of or who the artists of these
images are, to see if they're something I already have, or if I need to get
a copy of this book so I can add those to my doll image collection.

thanks
alex


On 3/21/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> I have it right here, but i cant understand what it is you want?
>
> Bjarne
>
>
> ----- Original Message -----
> From: "Alexandria Doyle" <garbaholic@gmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, March 21, 2006 9:10 PM
> Subject: [h-cost] Book on Lace Question
>
>
> Does anyone have the book "Lace in Fashion: From the 16th to the 20th
> Century" by Pat Earnshaw?
>
> I'm looking less to have the book for the lace as the reported two images
> of
> 16th/17th century children with dolls.  I've seen the cover of the book
> with
> one of those images, but I'm looking to find out who the subject/artist of
> the other image is.
>
> thanks
> alex
> _______________________________________________
> h-costume mailing list
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>
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Alex, I'd love to see your historical doll images! Would you be so kind as to share them?
 
Tea Rose
 
 
================================================

Date: Tue, 21 Mar 2006 14:45:49 -0600
From: "Alexandria Doyle" <garbaholic@gmail.com>
Subject: Re: [h-cost] Book on Lace Question

I am looking to find out who the images are of or who the artists of these
images are, to see if they're something I already have, or if I need to get
a copy of this book so I can add those to my doll image collection.

thanks
alex
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Date: Tue, 21 Mar 2006 16:32:09 -0600
From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Book on Lace Question
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Status: RO

I'd be pleased to, but I don't have my own page yet and what I have isn't
quite ready for one either.

I have posted the majority of my image collection on the Yahoo group
"Miniature Costumers Guild" in the photo section under "Alexandria - 16th C
Doll art" and then there's the "Alexandria - 16th C Dolls Artifacts" if
you're interested.

alex



On 3/21/06, tearoses@aol.com <tearoses@aol.com> wrote:
>
> Alex, I'd love to see your historical doll images! Would you be so kind as
> to share them?
>
> Tea Rose
>
>
> ================================================
>
> Date: Tue, 21 Mar 2006 14:45:49 -0600
> From: "Alexandria Doyle" <garbaholic@gmail.com>
> Subject: Re: [h-cost] Book on Lace Question
>
> I am looking to find out who the images are of or who the artists of these
> images are, to see if they're something I already have, or if I need to
> get
> a copy of this book so I can add those to my doll image collection.
>
> thanks
> alex
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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Status: RO

I love the Margot Leadbetter outfit!

And given your host of piracy pages, I feel compelled to direct you to 
venganza.org, where they are founding a new "religion" partially based on 
the theory that global warming is directly linked to a drop in the number of 
pirates (they have a graph and everything).

And - possibly one of my favourite jokes of all time - the pirate keyboard 
(which I'm sure you've seen before): 
http://www.studio2f.com/misc/images/corsair-thumb.jpg

Kate
(new-ish member, based in Kent - doh!)



>
>Message: 13
>Date: Mon, 20 Mar 2006 23:32:30 +0000
>From: "Nicole Kipar" <marquesate@hotmail.com>
>Subject: Re: [h-cost] Costumers in Edinburgh?
>To: h-costume@indra.com
>Message-ID: <BAY113-F256EF949A39BC4B45D2D65D3DB0@phx.gbl>
>Content-Type: text/plain; format=flowed
>
>Thank you ever so much for your kind words, Bjarne, Saragrace and Jean. :-)
>I do have a little bit to show, even though I didn't have much time for
>website updates. That was an understatement, I had no time. Here are some 
>of
>my latest costumes & evening outfits:
>
>http://www.kipar.org/salacious-historian/sewingprojects.html
>
>Nicole
>
>--------------------
>"If you think education is expensive, try ignorance."
>
>
>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Book on Lace Question
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Quoting Alexandria Doyle <garbaholic@gmail.com>:

> I'd be pleased to, but I don't have my own page yet and what I have isn't
> quite ready for one either.
>
> I have posted the majority of my image collection on the Yahoo group
> "Miniature Costumers Guild" in the photo section under "Alexandria - 16th C
> Doll art" and then there's the "Alexandria - 16th C Dolls Artifacts" if
> you're interested.

Oh, *wow*  You have some Way Cool stuff there!  (and I've actually seen
some of it before!)

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Book on Lace Question
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Thank you, now to see if I can find an online image somewhere as it doesn't
sound like something that I have

alex


On 3/21/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> That will be plate 127.
> "All three childrean wear elaborate clothes, the boy and elder girl with a
> suggestion of a farthingale. Their varying collar shapes, and upright
> cuffs,
> are edged with bobbin lace imitating punto in aria. All three have broad
> shoe roses, and their sashes are deeply fringed with gold lace. The boy
> wears a doublet, not a bodice, with his skirt, and he carries a sword. The
> youngest child´s gocart stands at the side, while her sister holds her
> leading strings. The painting is dated 161-, entitled James I familey´,
> and
> the ages of the children given as 5, 2, 4. The dates of birth of James´s
> three eldest - Henry, Elizabeth and Margaret, born in 1594, 1596 and 1598
> respectively - make1600 or 1601 a likely year for the painting, Robert
> Peake.
>
> Bjarne
>
> ----- Original Message -----
> From: "Alexandria Doyle" <garbaholic@gmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, March 21, 2006 9:45 PM
> Subject: Re: [h-cost] Book on Lace Question
>
>
> There are suppose to be two paintings or other type of images of children
> with "fashion dolls" of the 16th and 17th century pictured in the book.  I
> am looking to find out who the images are of or who the artists of these
> images are, to see if they're something I already have, or if I need to
> get
> a copy of this book so I can add those to my doll image collection.
>
> thanks
> alex
>
>
> On 3/21/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
> >
> > I have it right here, but i cant understand what it is you want?
> >
> > Bjarne
> >
> >
> > ----- Original Message -----
> > From: "Alexandria Doyle" <garbaholic@gmail.com>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Tuesday, March 21, 2006 9:10 PM
> > Subject: [h-cost] Book on Lace Question
> >
> >
> > Does anyone have the book "Lace in Fashion: From the 16th to the 20th
> > Century" by Pat Earnshaw?
> >
> > I'm looking less to have the book for the lace as the reported two
> images
> > of
> > 16th/17th century children with dolls.  I've seen the cover of the book
> > with
> > one of those images, but I'm looking to find out who the subject/artist
> of
> > the other image is.
> >
> > thanks
> > alex
> > _______________________________________________
> > 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
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>
> _______________________________________________
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Subject: Re: [h-cost] Book on Lace Question
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Quoting Alexandria Doyle <garbaholic@gmail.com>:

> Thank you, now to see if I can find an online image somewhere as it doesn't
> sound like something that I have

I got this one to show up that sounds like it might be it, but it's
tiny.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Jeanine E. Swick" <jeanine@woollycat.net>
Subject: Re: [h-cost] Re: arsenic
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There is a reasonably new book called "The Elements of Murder, A History 
of Poison" by John Emsley,  ISBN: 0-19-280599-1.  I heard an interview 
with the author on the radio last year and was intrigued enough to track 
down a copy.  I haven't had time to read it yet.  The interview did 
cover some of the uses of asesnic in history.  Not only was it used for 
coloring paper and fabric, but it was also used in a food  coloring.  
The book explores the history of certain elements and their toxic 
effects on the body. 

Costume content:  Hatters went mad because of  mercury poisoning.

  Jeanine

Alexandria Doyle wrote:

>I've read this also in a novel.  Apparently in the mid to late 1800's the
>arsenic was considered good for you, in those small amounts.  A woman
>murdered her husband by withholding it from her husband.  Same book also
>mentioned that it was used in perserving bodies during the American civil
>war era, and that the arsenic could leech from those bodies into the ground,
>to the well near by and thereby poisoning someone who drank said water a
>century later.
>
>alex
>
>
>On 3/21/06, Gail & Scott Finke <gailscott@eos.net> wrote:
>  
>
>>It does stay in the body, that's how they test for it. I read a murder
>>mystery once based on the idea that if you feed someone small bits of
>>arsenic every day, they die if you withhold it! I don't know if that one
>>is
>>true or not.
>>
>>Gail Finke
>>
>>
>>_______________________________________________
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>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>    
>>
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>
>  
>
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Quoting "Susan B. Farmer" <sfarmer@goldsword.com>:

> Quoting Alexandria Doyle <garbaholic@gmail.com>:
>
>> Thank you, now to see if I can find an online image somewhere as it doesn't
>> sound like something that I have
>
> I got this one to show up that sounds like it might be it, but it's
> tiny.

http://www.elalmanaque.com/infantil/images/Retratoninasp.jpg

And of course, if would have helped if I'd uncluded the URL!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: this list
Date: Tue, 21 Mar 2006 17:29:57 -0800
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I think we need to all wear a red H or something to identify the H-Costumers
at the Lectures.  Sounds like a lot of us will be there

Wanda/Regina (SCA)

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Althea Turner
> Sent: Tuesday, March 21, 2006 11:49 AM
> To: Historical Costume
> Subject: Re: [h-cost] Re: this list
>
>
> Hello,
> I will be at the lectures, also.  Yeah!
> Althea
>
>


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From: Robin Netherton <robin@shell.nightowl.net>
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On Tue, 21 Mar 2006, Wanda Pease wrote:

> I think we need to all wear a red H or something to identify the H-Costumers
> at the Lectures.  Sounds like a lot of us will be there.

I deputize you to bring some stickers or something for the h-cost people
;-)

I have a class list, but it's all SCA names! So there are probably people
on it that I know from h-cost, but I'm not making the connection.

--Robin



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Oseberg textiles
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On Tuesday 21 March 2006 4:42 pm, G.Vinje wrote:
> On Tue, 21 Mar 2006 07:41:02 +0000, Caroline <carolineebuckley@gmail.com>
>
> wrote:
> > That is great news.  I hope there will be a reasonable amount of it in
> > English.
>
> There will be english summaries. The book itself will be in norwegian and
> swedish according to Arne Emil Christensen.

English summaries would do for me.  I recently bought a book on medieval 
Lithuanian costume, written in Lithuanian with English summaries, and learned 
an amazing amount from it. 

The price of the Oseberg textiles book is a factor though.  I love books but 
I've never spent more than $100 USD for one!  Guess I'll have to save 
up.  :-) Thanks, Gunvor, for the information.


-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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Of course, the "H" would be appliquéd, embroidered, beaded and absolutely
gorgeous!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Wanda Pease
Sent: Tuesday, March 21, 2006 5:30 PM
To: Historical Costume
Subject: RE: [h-cost] Re: this list


I think we need to all wear a red H or something to identify the H-Costumers
at the Lectures.  Sounds like a lot of us will be there

Wanda/Regina (SCA)

> -----Original Message-----
> From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> Behalf Of Althea Turner
> Sent: Tuesday, March 21, 2006 11:49 AM
> To: Historical Costume
> Subject: Re: [h-cost] Re: this list
>
>
> Hello,
> I will be at the lectures, also.  Yeah!
> Althea
>
>


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Robin,

	Regina Romsey is Wanda Pease.  I bought the Inventories of Henry VIII from
you.  I intend to bring it AND your book for you to sign over to me!

Wanda/Regina Romsey

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Robin Netherton
> Sent: Tuesday, March 21, 2006 6:02 PM
> To: Historical Costume
> Subject: RE: [h-cost] Re: this list
>
>
>
> On Tue, 21 Mar 2006, Wanda Pease wrote:
>
> > I think we need to all wear a red H or something to identify
> the H-Costumers
> > at the Lectures.  Sounds like a lot of us will be there.
>
> I deputize you to bring some stickers or something for the h-cost people
> ;-)
>
> I have a class list, but it's all SCA names! So there are probably people
> on it that I know from h-cost, but I'm not making the connection.
>
> --Robin
>
>


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Book Tease!!!!

	A book on Lithuanian Costume?  Name? ISBN?  Where? How Much...?????
Inquiring Bookoholics want to know!

Wanda/Regina
>
> English summaries would do for me.  I recently bought a book on medieval
> Lithuanian costume, written in Lithuanian with English summaries,
> and learned
> an amazing amount from it.
>


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From: "Wanda Pease" <wandap@hevanet.com>
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Even put on a nice Red Hat for us Holders of that Honor :-)

Wanda/Regina Romsey
>
>
> Of course, the "H" would be appliquéd, embroidered, beaded and absolutely
> gorgeous!


>
> I think we need to all wear a red H or something to identify the
> H-Costumers
> at the Lectures.  Sounds like a lot of us will be there
>
> Wanda/Regina (SCA)
>
>


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Subject: RE: [h-cost] Book on Lithuanian Costume? was: Oseberg textiles
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I hadn't been following the Oseberg topic and missed this. Who has a
Lithuania costume book and how can I get a copy?

De

-----Original Message-----
Book Tease!!!!

	A book on Lithuanian Costume?  Name? ISBN?  Where? How Much...?????
Inquiring Bookoholics want to know!

Wanda/Regina
>
> English summaries would do for me.  I recently bought a book on medieval
> Lithuanian costume, written in Lithuanian with English summaries,
> and learned
> an amazing amount from it.
>


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> 
> English summaries would do for me.  I recently bought a book on medieval 
> Lithuanian costume, written in Lithuanian with English summaries, and learned 
> an amazing amount from it. 

What is the title of the Lithuanian book?

> 
> The price of the Oseberg textiles book is a factor though.  I love books but 
> I've never spent more than $100 USD for one!  Guess I'll have to save 
> up. 

Fred Struthers said he'd try to get me a copy, I imagine he'd stock it 
if enough people were interested.  No deep discounts but at least he 
speaks English.

Fran
Lavolta Press
http://www.lavoltapress.com
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On Tuesday 21 March 2006 9:00 pm, you wrote:
> Book Tease!!!!
>
> 	A book on Lithuanian Costume?  Name? ISBN?  Where? How Much...?????
> Inquiring Bookoholics want to know!

This is *early* Lithuanian costume, mind.  First through 16th 
centuries--before any of the folk costumes evolved.  

On the other hand, the book has lots of decent black and white photos of 
archaeological finds....

If you're still interested, here's the relevant information.  (Apologies in 
advance because I can't type the proper diacritical marks here.)

TITLE:  Senoves Lietuviu Drabuziai Ir Ju Papuosalai
AUTHOR:  Regina Volkaite-Kulikauskiene
PUBLISHER:  Lietuvos Istorijos Institutas
DATE:  1997

ISBN: 9986-780-14-1

I bought my copy from a mail order seller named Fred Struthers.  I don't 
remember the price but it was somewhere close to $40 USD.  He sells an 
ever-changing stock of costume/textile/material culture-related books.  His 
catalog is called "Books on Cloth" and it comes out 2-4 times a year.  I 
haven't seen this book in his most recent catalog (I bought mine about a year 
ago).  (He sells other nifty books, though.)

His email address is fsbks@mcn.org.  His mailing address is

Fred Struthers
Books on Cloth
P.O. Box 2706
Fort Bragg, CA  95437

He used to have a website, but there's no URL in the current catalog.  Anyway, 
it was an information-only site--you couldn't place orders through it.  The 
paper catalog is the thing to get if you want to buy from him, but I suppose 
you could always send him email and find out if he has anything in stock that 
you're interested in.  If you place a mail order with him, definitely email 
him first so that he'll hold the book for you.  His catalog claims that he 
now takes PayPal.

Good luck!

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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> 
> I bought my copy from a mail order seller named Fred Struthers. I 
> haven't seen this book in his most recent catalog (I bought mine about a year 
> ago).  (He sells other nifty books, though.)
> 
> His email address is fsbks@mcn.org.  His mailing address is
> 
> Fred Struthers
> Books on Cloth
> P.O. Box 2706
> Fort Bragg, CA  95437
> 
> He used to have a website, but there's no URL in the current catalog.

His website is http://www.rlshep.com/HTML/fred.htm.

   Anyway,
> it was an information-only site--you couldn't place orders through it.  The 
> paper catalog is the thing to get if you want to buy from him, but I suppose 
> you could always send him email and find out if he has anything in stock that 
> you're interested in.  

Fred Struthers (and Robb Shep, the publishing arm of the business) are 
old friends and colleagues of mine. What Fred told me is, that he used 
to publish catalogs with a huge number of listings, but people were not 
ordering as much from the end of the catalogs. It seemed like there were 
only so many listings they wanted to read through before their eyes 
glazed over. So Fred decided that it might be better to publish smaller 
catalogs, but more often, that contain only a selection of the books he 
has in stock; and then publish the next catalog with a different selection.

In other words, it pays to ask Fred if he has a book that you want in 
stock, even if it is not in the current catalog.  I buy most of my new 
books that were published outside the US from Fred. He's in the US, he 
speaks English, there are no shipping delays, and I can order several 
foreign books, published in several different countries, at one time.

Fran
Lavolta Press
http://www.lavoltapress.com
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From: "Julie Tamura" <jtknits@jtknits.cts.com>
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Subject: [h-cost] arsenic
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I'm not sure if this was presented as fact or if it's one of those urban
legends, but I read that decades after his death, some of Napoleon's hair
showed up at auction and was tested for various things.  It showed that he
had ingested arsenic on an ongoing basis.  So was someone trying to poison
him or was he using unsafe cosmetics of the time?
Julie


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] re: extant inventories/Mary Queen of Scots
Date: Tue, 21 Mar 2006 19:00:54 -0800
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Going back through my old messages I found this one.  I'm not sure if it was
mentioned by the thread, but the book is available on-line through the
Google Book search project.
http://books.google.com/books?id=89IF87AU-MkC&vid=OCLC04062627&dq=Bannatyne+
Club&ie=UTF-8&jtp=1

Not as good as holding the original in your hand, but much cheaper,
particularly if you don't read French :-)

Wanda Pease
>
> Robertson, J.  Inventaires de la Royne Descosse douairiere de France:
> catalogues of the jewels, dresses, furniture, books, and paintings of
> Mary Queen of Scots : 1556-1569.  Edinburgh:  Bannatyne Club, 1863.
>
> I'm trying to ILL it, but it's fairly rare.
>
> Good luck,
> Melanie Schuessler
>


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Subject: Re: [h-cost] Book on Lace Question
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I have this one, and it looks like three girls, not the boy and two sisters
described.  I've found a couple of James I family paintings, but not this
one, yet.

alex


> > I got this one to show up that sounds like it might be it, but it's
> > tiny.
>
> http://www.elalmanaque.com/infantil/images/Retratoninasp.jpg
>
> And of course, if would have helped if I'd uncluded the URL!
>
>
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And some of us will be in garb, while others won't. Stickers for the
whole lot Good Plan. :-)

Robin, we are so looking forward to your visit this weekend--it's all
we've been talking about! :D

Safe journeys, and see you soon.

Arlys

On Tue, 21 Mar 2006 20:01:54 -0600 (CST) Robin Netherton
<robin@shell.nightowl.net> writes:
> 
> On Tue, 21 Mar 2006, Wanda Pease wrote:
> 
> > I think we need to all wear a red H or something to identify the 
> H-Costumers
> > at the Lectures.  Sounds like a lot of us will be there.
> 
> I deputize you to bring some stickers or something for the h-cost 
> people
> ;-)
> 
> I have a class list, but it's all SCA names! So there are probably 
> people
> on it that I know from h-cost, but I'm not making the connection.
> 
> --Robin
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Oseberg textiles
Date: Tue, 21 Mar 2006 23:35:09 -0500
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On Tuesday 21 March 2006 9:33 pm, Lavolta Press wrote:
> > English summaries would do for me.  I recently bought a book on medieval
> > Lithuanian costume, written in Lithuanian with English summaries, and
> > learned an amazing amount from it.
>
> What is the title of the Lithuanian book?

It was in my reply to Wanda.  Here's all information again, in case you'd 
missed my response:

TITLE:  Senoves Lietuviu Drabuziai Ir Ju Papuosalai
AUTHOR:  Regina Volkaite-Kulikauskiene
PUBLISHER:  Lietuvos Istorijos Institutas
DATE:  1997

ISBN: 9986-780-14-1

[I said:]
> > The price of the Oseberg textiles book is a factor though.  I love books
> > but I've never spent more than $100 USD for one!  Guess I'll have to save
> > up.
>
> Fred Struthers said he'd try to get me a copy, I imagine he'd stock it
> if enough people were interested.  No deep discounts but at least he
> speaks English.

So do many Scandanavians.  I ordered a Swedish pamphlet recently from a 
web-based business that serves the reenactor market.  We communicated by 
email, and their English was just fine.


-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)


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I don't use my modern name on this list. ;)

Arlys

On Tue, 21 Mar 2006 17:50:13 -0800 "Wanda Pease" <wandap@hevanet.com>
writes:
> Robin,
> 
> 	Regina Romsey is Wanda Pease.  I bought the Inventories of 
> Henry VIII from
> you.  I intend to bring it AND your book for you to sign over to me!
> 
> Wanda/Regina Romsey
> 
> > -----Original Message-----
> > From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Robin Netherton
> > Sent: Tuesday, March 21, 2006 6:02 PM
> > To: Historical Costume
> > Subject: RE: [h-cost] Re: this list
> >
> >
> >
> > On Tue, 21 Mar 2006, Wanda Pease wrote:
> >
> > > I think we need to all wear a red H or something to identify
> > the H-Costumers
> > > at the Lectures.  Sounds like a lot of us will be there.
> >
> > I deputize you to bring some stickers or something for the h-cost 
> people
> > ;-)
> >
> > I have a class list, but it's all SCA names! So there are probably 
> people
> > on it that I know from h-cost, but I'm not making the connection.
> >
> > --Robin
> >
> >
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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On Tue, 21 Mar 2006, Cynthia J Ley wrote:

> Robin, we are so looking forward to your visit this weekend--it's all
> we've been talking about! :D

Whoa. That's scary! :-D

--R.

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I started looking at the Google print on-line.  It's not in French (always),
it's in Scots/English for much of it.

Any idea what is being described here:

"Item ane doublett of blak veluot/ and the vaskene of the same."

I've got that we have a black velvet doublett here, but what is a vaskene
(long S by the way)?

The next article down is:
"Item ane uther doublett of satin / with the skirt of the same."  and is
under the title The Quenis Movables (pg 17)


Wanda Pease/Regina Romsey
Never attribute to malice what can as easily
be attributed to simple social ineptness


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Mary QoS Inventory
Date: Tue, 21 Mar 2006 21:21:58 -0800
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Never Mind.  I found the Dictionary of the Scots Language on-line and it's
vasken or petticoat.  It even uses this very entry as an example.  I think
I'm going to have fun with this one!

Wanda
>
> Any idea what is being described here:
>
> "Item ane doublett of blak veluot/ and the vaskene of the same."
>
> I've got that we have a black velvet doublett here, but what is a vaskene
> (long S by the way)?
>
> The next article down is:
> "Item ane uther doublett of satin / with the skirt of the same."  and is
> under the title The Quenis Movables (pg 17)
>
>


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From: "Chiara Francesca" <chiara@io.com>
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Subject: [h-cost] Glove images
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http://www.glove.org/embellishers/cuff.asp

Several embroiders in the SCA Kingdom of Ansteorra gathered together to 
create a simple yet very important set of tokens to be given by our Crown to 
the attending Crowns at Gulf Wars.

The results were 12 silk embroidered Kingom Arms on linen cuffs. 9 of which 
were distributed at the event. 2 will be mailed to the Crowns that sent 
troops but were unable to attend themselves. The last one will be sent to 
Glenn Abhann as thier crown has a very unique sized hand and will require a 
wearable glove that is usable for him. :)

Enjoy the pictures. As soon as I get the images of the others I will put 
them up on this same page.

Thanks for the band width and indulgence!
Chiara 

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> I started looking at the Google print on-line.  It's not in French
(always),
> it's in Scots/English for much of it.

Ooh, Ok another book to search for over there:)

> Any idea what is being described here:
> "Item ane doublett of blak veluot/ and the vaskene of the same."

I know you answered this yourself, but it probably comes from the term
vasquina which was used to describe a petticoat/skirt as you have described.
In Alcega it is used *only* for skirts, if there is a bodice it is mentioned
seperately: Vasquina y cuerpo baxo.

I haven't quite worked out what makes a vasquina is different from a
faldellin, but it seems a vasquina is made from trapezoid pieces while the
faldellin are from half circles.

Not sure if faldellin appear in the QoS inventory or not though;)

michaela de bruce
http://glittersweet.com



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Hello (I'm catching up!)
the random information my brain retains pinged at both
of these notes

1. One theory is that the wallpaper in Napoleon's home
contained arsenic which was released (as a vapour) by
the damp weather, hence arsenic in his hair sample. It
didn't actually kill him but made lots of those around
ill too. See:
http://www.victorianweb.org/history/arsenic.html
and numerous other sources.

2. Arsenic gave a fashionable pallor to the face,
hence its application (along with lead) by elegant
ladies. again
http://www.victorianweb.org/authors/mb/rouge.html 
or
http://www.vintageconnection.net/ModesInMakeup.htm
Some have even suggested that Mozart died from
over-enthusiastic application of face cream! 

Hello Nicole - I'm in Edinburgh and I love your site!
What are you working on now? I'm knee deep in a
recreation of Eowyn's green velvet gown for myself for
a wedding this weekend (I'm at the toile stage: don't
ask, it's a deadline/kamikaze thing). Not strictly
historical but fun.

Katherine S

"A positive attitude may not solve all of your problems, but it will 
annoy enough people to make it worth the effort" - Herm Albright


	
	
		
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Book on Lace Question
Date: Wed, 22 Mar 2006 09:49:46 +0100
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Hi Susan,
This is the picture on the cover of the book, the other one is inside the 
book.
So its not this one, unfortunately.

Bjarne

----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 22, 2006 2:02 AM
Subject: Re: [h-cost] Book on Lace Question


> Quoting "Susan B. Farmer" <sfarmer@goldsword.com>:
>
>> Quoting Alexandria Doyle <garbaholic@gmail.com>:
>>
>>> Thank you, now to see if I can find an online image somewhere as it 
>>> doesn't
>>> sound like something that I have
>>
>> I got this one to show up that sounds like it might be it, but it's
>> tiny.
>
> http://www.elalmanaque.com/infantil/images/Retratoninasp.jpg
>
> And of course, if would have helped if I'd uncluded the URL!
>
> Susan
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
>
>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <HGEEKKPFPKOJBDPGKLOCAEPCMJAA.wandap@hevanet.com>
Subject: Re: [h-cost] Mary QoS Inventory
Date: Wed, 22 Mar 2006 09:56:06 +0100
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Could this be Vasquine, varthingale?

Bjarne

----- Original Message ----- 
From: "Wanda Pease" <wandap@hevanet.com>
To: "H-Costume" <h-costume@indra.com>
Sent: Wednesday, March 22, 2006 6:01 AM
Subject: [h-cost] Mary QoS Inventory


>I started looking at the Google print on-line.  It's not in French 
>(always),
> it's in Scots/English for much of it.
>
> Any idea what is being described here:
>
> "Item ane doublett of blak veluot/ and the vaskene of the same."
>
> I've got that we have a black velvet doublett here, but what is a vaskene
> (long S by the way)?
>
> The next article down is:
> "Item ane uther doublett of satin / with the skirt of the same."  and is
> under the title The Quenis Movables (pg 17)
>
>
> Wanda Pease/Regina Romsey
> Never attribute to malice what can as easily
> be attributed to simple social ineptness
>
>
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Date: Wed, 22 Mar 2006 04:04:24 -0600
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] Art Hysteria
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On the same level is this site:
http://www.sirbacon.org/toc.html

Which claims that Sir Francis Bacon is Shakespeare and the 
illegitimate son of Queen Elizabeth suggesting this painting is of 
her pregnant:
http://www.sirbacon.org/slides_html/sld006.htm

Cheers,
Danielle

At 10:55 PM 3/17/2006, you wrote:
>Just for fun--here's an analysis of a copy of Holbein's sketch of 
>Thomas More's Family:
>http://www.holbeinartworks.org/bfourstmandtpitt.htm
>Anyone who makes it all the way through gets a cookie!
>
>-E House

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Subject: Re: [h-cost] tangled garden
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Sounds lovely.  The subject line certainly conjured up wonderful 
images.  Yep, Dharma is where I would start.  I have had great success 
in combining colors to get something they don't have "off the 
shelf."     Keep us posted!

Sg

Bjarne og Leif Drews wrote:

> Hi,
> Perhaps Dharma Trading have, i should have looked before asking! sorry
>
>
>

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Subject: Re: [h-cost] Book on Lace Question
Date: Wed, 22 Mar 2006 07:57:51 -0500
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Ah, but remember that boys of this time period did not wear distinctive
dress until they had been breached!
Kathleen
--- Original Message ----- 
From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 21, 2006 11:10 PM
Subject: Re: [h-cost] Book on Lace Question


I have this one, and it looks like three girls, not the boy and two sisters
described.  I've found a couple of James I family paintings, but not this
one, yet.

alex


> > I got this one to show up that sounds like it might be it, but it's
> > tiny.
>
> http://www.elalmanaque.com/infantil/images/Retratoninasp.jpg
>
> And of course, if would have helped if I'd uncluded the URL!
>
>
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Date: Wed, 22 Mar 2006 08:10:55 -0500
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Book on Lace Question
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Quoting Bjarne og Leif Drews <drewscph@post12.tele.dk>:

> Hi Susan,
> This is the picture on the cover of the book, the other one is inside 
> the book.
> So its not this one, unfortunately.

That one was so tiny, if it *was* the correct picture, I don't know how
much good it would have been.  Sounds like when I finish this
dissertation, I'm going to have to ILL this book too.  My library
doesn't have it.

Susan

===========
>
>
>> Quoting "Susan B. Farmer" <sfarmer@goldsword.com>:
>>
>>>
>>> I got this one to show up that sounds like it might be it, but it's
>>> tiny.
>>
>> http://www.elalmanaque.com/infantil/images/Retratoninasp.jpg
>>

-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Book on Lace Question
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Most of the paintings I've seen of boys in this time period they are wearing
a high neck doublet, with skirts, not the scooped neck of these bodices, so
I think these are girls, in matching dresses.  Pretty little dresses too

alex


On 3/22/06, Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
>
> Ah, but remember that boys of this time period did not wear distinctive
> dress until they had been breached!
> Kathleen
> --- Original Message -----
> From: "Alexandria Doyle" <garbaholic@gmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, March 21, 2006 11:10 PM
> Subject: Re: [h-cost] Book on Lace Question
>
>
> I have this one, and it looks like three girls, not the boy and two
> sisters
> described.  I've found a couple of James I family paintings, but not this
> one, yet.
>
> alex
>
>
> > > I got this one to show up that sounds like it might be it, but it's
> > > tiny.
> >
> > http://www.elalmanaque.com/infantil/images/Retratoninasp.jpg
> >
> > And of course, if would have helped if I'd uncluded the URL!
> >
> >
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Book on Lace Question
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At 13:10 22/03/2006, you wrote:
>Quoting Bjarne og Leif Drews <drewscph@post12.tele.dk>:
>
>>Hi Susan,
>>This is the picture on the cover of the book, the other one is 
>>inside the book.
>>So its not this one, unfortunately.
>
>That one was so tiny, if it *was* the correct picture, I don't know how
>much good it would have been.  Sounds like when I finish this
>dissertation, I'm going to have to ILL this book too.  My library
>doesn't have it.


The description of the picture on the front cover is as follows 
"Portrait of three young girls, circle of Robert Peake, c. 1620"

The relevant picture is of three children. The boy on the left 
carries a whip, or gloves - the picture is not very clear. The child 
in the middle, a girl, carries a doll, and the third girl seems to be 
holding the younger girl's leading strings. This is the one that 
matches the description that Bjarne gave, and not the coloured one 
recently shown. (I've wiped all the previous correspondence - sorry.)

Alexandria, I can scan this for you if it would help?

Suzi


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>
>
>
> The description of the picture on the front cover is as follows
> "Portrait of three young girls, circle of Robert Peake, c. 1620"
>
> The relevant picture is of three children. The boy on the left
> carries a whip, or gloves - the picture is not very clear. The child
> in the middle, a girl, carries a doll, and the third girl seems to be
> holding the younger girl's leading strings. This is the one that
> matches the description that Bjarne gave, and not the coloured one
> recently shown. (I've wiped all the previous correspondence - sorry.)
>
> Alexandria, I can scan this for you if it would help?
>
> Suzi
>
>
> Please, please please, thank you thank you thank you


Sending it directly to me would be wonderful and I'll post it with the other
photos I have in case anyone else is interested in seeing it.

alex
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Date: Wed, 22 Mar 2006 07:45:43 -0800
From: Nancy Millis-MacHaffie <n.mm@gte.net>
Subject: Re: [h-cost] Re: this list
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At 11:12 PM 3/21/2006 -0600, you wrote:

>On Tue, 21 Mar 2006, Cynthia J Ley wrote:
>
> > Robin, we are so looking forward to your visit this weekend--it's all
> > we've been talking about! :D
>
>Whoa. That's scary! :-D
>
>--R.
This will make you really nervous Robin.  :D

I keep waking up thinking "3 more days!"

Serious question:  Are you going to bring any copies of your book(s) for sale?

Nancy MM

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
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On Wed, 22 Mar 2006, Nancy Millis-MacHaffie wrote:

> This will make you really nervous Robin.  :D
> 
> I keep waking up thinking "3 more days!"

Oh, gee. I hope I live up to expectations!

> Serious question:  Are you going to bring any copies of your book(s)
> for sale?

I don't sell the books (I have to pay for my own copies!). But I've
arranged for my publisher to send a discount flyer for both Vol. 1 and
Vol. 2 (the latter just coming off the press now) so that people at the
lecture can order either if they like. I'll bring a copy of Vol. 1 to show
around.

--Robin


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I haven't yet established an SCA name and will be wearing modern garb....and will have my sometimes reticent, sometimes talk your ear off fiance in tow. Don't take it personally if he stands to one side and glowers.
   
  Annette M
   
  Message: 1
Date: Tue, 21 Mar 2006 20:27:13 -0800
From: Cynthia J Ley 
Subject: Re: [h-cost] Re: this list

And some of us will be in garb, while others won't. Stickers for the
whole lot Good Plan. :-)

Robin, we are so looking forward to your visit this weekend--it's all
we've been talking about! :D

Safe journeys, and see you soon.

Arlys

On Tue, 21 Mar 2006 20:01:54 -0600 (CST) Robin Netherton
writes:
> 
> On Tue, 21 Mar 2006, Wanda Pease wrote:
> 
> > I think we need to all wear a red H or something to identify the 
> H-Costumers
> > at the Lectures. Sounds like a lot of us will be there.
> 
> I deputize you to bring some stickers or something for the h-cost 
> people
> ;-)
> 
> I have a class list, but it's all SCA names! So there are probably 
> people
> on it that I know from h-cost, but I'm not making the connection.
> 
> --Robin
> 
> 


		
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Book on Lace Question
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Hi,
I get a little confused now. The cover book picture, shows 3 girls. First 
girl carries grapes in her right hand, second girl has pears and the little 
girl a doll.

Bjarne

The picture asked for was inside, and only in black and white.

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 22, 2006 3:05 PM
Subject: Re: [h-cost] Book on Lace Question


> At 13:10 22/03/2006, you wrote:
>>Quoting Bjarne og Leif Drews <drewscph@post12.tele.dk>:
>>
>>>Hi Susan,
>>>This is the picture on the cover of the book, the other one is inside the 
>>>book.
>>>So its not this one, unfortunately.
>>
>>That one was so tiny, if it *was* the correct picture, I don't know how
>>much good it would have been.  Sounds like when I finish this
>>dissertation, I'm going to have to ILL this book too.  My library
>>doesn't have it.
>
>
> The description of the picture on the front cover is as follows "Portrait 
> of three young girls, circle of Robert Peake, c. 1620"
>
> The relevant picture is of three children. The boy on the left carries a 
> whip, or gloves - the picture is not very clear. The child in the middle, 
> a girl, carries a doll, and the third girl seems to be holding the younger 
> girl's leading strings. This is the one that matches the description that 
> Bjarne gave, and not the coloured one recently shown. (I've wiped all the 
> previous correspondence - sorry.)
>
> Alexandria, I can scan this for you if it would help?
>
> Suzi
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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Date: Wed, 22 Mar 2006 16:24:30 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Book on Lace Question
In-Reply-To: <002001c64dcb$fcfdf740$7c83fea9@CPQ21932199711>
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At 16:16 22/03/2006, you wrote:
>Hi,
>I get a little confused now. The cover book picture, shows 3 girls. 
>First girl carries grapes in her right hand, second girl has pears 
>and the little girl a doll.
>
>Bjarne
>
>The picture asked for was inside, and only in black and white.

That is the description you gave, but someone posted the picture on 
the cover. I was simply clarifying the situation, and Alexandria now 
has a copy of the picture inside, which is the one you described in 
the first place.

Suzi


>>At 13:10 22/03/2006, you wrote:
>>>Quoting Bjarne og Leif Drews <drewscph@post12.tele.dk>:
>>>
>>>>Hi Susan,
>>>>This is the picture on the cover of the book, the other one is 
>>>>inside the book.
>>>>So its not this one, unfortunately.
>>>
>>>That one was so tiny, if it *was* the correct picture, I don't know how
>>>much good it would have been.  Sounds like when I finish this
>>>dissertation, I'm going to have to ILL this book too.  My library
>>>doesn't have it.
>>
>>
>>The description of the picture on the front cover is as follows 
>>"Portrait of three young girls, circle of Robert Peake, c. 1620"
>>
>>The relevant picture is of three children. The boy on the left 
>>carries a whip, or gloves - the picture is not very clear. The 
>>child in the middle, a girl, carries a doll, and the third girl 
>>seems to be holding the younger girl's leading strings. This is the 
>>one that matches the description that Bjarne gave, and not the 
>>coloured one recently shown. (I've wiped all the previous 
>>correspondence - sorry.)





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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <870801590603211210p668a38cbrb3fa192c4c90af8f@mail.gmail.com><000601c64d26$1feb5410$7c83fea9@CPQ21932199711><870801590603211245v52bf459fvc681427579cf5792@mail.gmail.com><000d01c64d33$3de2ea70$7c83fea9@CPQ21932199711><870801590603211616y70e4725frb09c32c22e84099d@mail.gmail.com><20060321200006.qvk7vumvreu8kgg0@www.goldsword.com><20060321200246.ov91aczjovwgsokw@www.goldsword.com><001601c64d8d$96827f60$7c83fea9@CPQ21932199711><20060322081055.mcgvhn467eo0sokw@www.goldsword.com><6.2.3.4.0.20060322135856.01d8c628@127.0.0.1><002001c64dcb$fcfdf740$7c83fea9@CPQ21932199711>
	<6.2.3.4.0.20060322162223.01df28a8@127.0.0.1>
Subject: Re: [h-cost] Book on Lace Question
Date: Wed, 22 Mar 2006 17:39:39 +0100
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Sorry Suzi,
It was me having two much in my head at the time.
Bjarne

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 22, 2006 5:24 PM
Subject: Re: [h-cost] Book on Lace Question


> At 16:16 22/03/2006, you wrote:
>>Hi,
>>I get a little confused now. The cover book picture, shows 3 girls. 
>>First girl carries grapes in her right hand, second girl has pears 
>>and the little girl a doll.
>>
>>Bjarne
>>
>>The picture asked for was inside, and only in black and white.
> 
> That is the description you gave, but someone posted the picture on 
> the cover. I was simply clarifying the situation, and Alexandria now 
> has a copy of the picture inside, which is the one you described in 
> the first place.
> 
> Suzi
> 
> 
>>>At 13:10 22/03/2006, you wrote:
>>>>Quoting Bjarne og Leif Drews <drewscph@post12.tele.dk>:
>>>>
>>>>>Hi Susan,
>>>>>This is the picture on the cover of the book, the other one is 
>>>>>inside the book.
>>>>>So its not this one, unfortunately.
>>>>
>>>>That one was so tiny, if it *was* the correct picture, I don't know how
>>>>much good it would have been.  Sounds like when I finish this
>>>>dissertation, I'm going to have to ILL this book too.  My library
>>>>doesn't have it.
>>>
>>>
>>>The description of the picture on the front cover is as follows 
>>>"Portrait of three young girls, circle of Robert Peake, c. 1620"
>>>
>>>The relevant picture is of three children. The boy on the left 
>>>carries a whip, or gloves - the picture is not very clear. The 
>>>child in the middle, a girl, carries a doll, and the third girl 
>>>seems to be holding the younger girl's leading strings. This is the 
>>>one that matches the description that Bjarne gave, and not the 
>>>coloured one recently shown. (I've wiped all the previous 
>>>correspondence - sorry.)
> 
> 
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] New book on medieval braid
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 From another list I use

Suzi


----------
ADVANCE NOTIFICATION

Tak v Bowes Departed: A 15th Century Braiding Manual Examined
by Elizabeth Benns and Gina Barrett

Tak v bowes departed is an in-depth study of Article 4, British 
Library Manuscript Harley 2320. This treatise, which dates to the 
fifteenth century, gives instructions for making forty different 
braids of varying complexity.

Braids such as these were used for a variety of purposes during the 
medieval period; lacing clothes, purse strings, decorative trim and 
seal tags. This book discusses the background of the original 
manuscript; who may have owned it, how it was made, and compares the 
spelling and language with other similar documents.

Tak v bowes departed concludes with modern instructions to make each 
of the braids; original errors have been corrected and noted, and 
each braid is clearly illustrated for reference. The instructions are 
provided as both text and diagrams, and include a detailed overview 
of the technique of 'fingerloop braiding' for those new to this skill.


For further information and to order your advance copy, visit
<http://www.takvbowes.co.uk>http://www.takvbowes.co.uk
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Date: Wed, 22 Mar 2006 09:04:43 -0800 (PST)
From: REBECCA BURCH <ctrvlyfarm@sbcglobal.net>
Subject: Re: [h-cost] Re: this list
To: Historical Costume <h-costume@indra.com>
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Okay, I can't stand it anymore.  Where is this
lecture?  Is there a mailing list to get on for
notices for things like this and the big conference
somebody mentioned in Michigan?  Kalamazoo, maybe?

My husband will not thank you for this information,
since I am truly getting addicted to this researching.
 He was resigned to the state of my workroom before,
but now that it is starting to overflow into the front
parlor I begin to see fear in his eyes.

--- Nancy Millis-MacHaffie <n.mm@gte.net> wrote:

> At 11:12 PM 3/21/2006 -0600, you wrote:
> 
> >On Tue, 21 Mar 2006, Cynthia J Ley wrote:
> >
> > > Robin, we are so looking forward to your visit
> this weekend--it's all
> > > we've been talking about! :D
> >
> >Whoa. That's scary! :-D
> >
> >--R.
> This will make you really nervous Robin.  :D
> 
> I keep waking up thinking "3 more days!"
> 
> Serious question:  Are you going to bring any copies
> of your book(s) for sale?
> 
> Nancy MM
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


Rebecca Burch
Center Valley Farm
Duncan Falls, Ohio, USA
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From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] simplicity
Date: Wed, 22 Mar 2006 13:15:00 -0600
Organization: Software Innovation
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I seem to recall "queue" or something similar used for the Chinese
immigrants in California.
Just my .02 lira, Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Tuesday, March 21, 2006 11:28 AM
To: h-costume@indra.com
Subject: Re: [h-cost] simplicity

 

*****************
 
True true. Except there's no bag or "cue" [I can't remember or find
anywhere 
the real spelling of "cue" when it refers to a pony tail] in the  picture.
It 
looks very 1820s.
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From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Book on Lace Question
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Status: RO

Someone posted a link to the cover picture, not the one inside that you had
described for me.  Suzi has sent me a scan of the page in question, so I
have both images in my collection now.  every bit of information that I can
find about the dolls is really wonderful.

Oh and to make this really historical costume related, these dolls in these
images aren't fashion dolls. Fashion dolls didn't really come into common
use until the mid-17th or later centuries.  Everything I've found with dolls
from the 16th and early 17th century show the doll matching it's owner, so
an English girl's doll wears English styles, the German girl's doll wears
German styles and the Spanish girl's doll wears Spanish styles.  If anyone
has something different I'd love to see it!

alex


On 3/22/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> Hi,
> I get a little confused now. The cover book picture, shows 3 girls. First
> girl carries grapes in her right hand, second girl has pears and the
> little
> girl a doll.
>
> Bjarne
>
> The picture asked for was inside, and only in black and white.
>
> ----- Original Message -----
> From: "Suzi Clarke" <suzi@suziclarke.co.uk>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, March 22, 2006 3:05 PM
> Subject: Re: [h-cost] Book on Lace Question
>
>
> > At 13:10 22/03/2006, you wrote:
> >>Quoting Bjarne og Leif Drews <drewscph@post12.tele.dk>:
> >>
> >>>Hi Susan,
> >>>This is the picture on the cover of the book, the other one is inside
> the
> >>>book.
> >>>So its not this one, unfortunately.
> >>
> >>That one was so tiny, if it *was* the correct picture, I don't know how
> >>much good it would have been.  Sounds like when I finish this
> >>dissertation, I'm going to have to ILL this book too.  My library
> >>doesn't have it.
> >
> >
> > The description of the picture on the front cover is as follows
> "Portrait
> > of three young girls, circle of Robert Peake, c. 1620"
> >
> > The relevant picture is of three children. The boy on the left carries a
> > whip, or gloves - the picture is not very clear. The child in the
> middle,
> > a girl, carries a doll, and the third girl seems to be holding the
> younger
> > girl's leading strings. This is the one that matches the description
> that
> > Bjarne gave, and not the coloured one recently shown. (I've wiped all
> the
> > previous correspondence - sorry.)
> >
> > Alexandria, I can scan this for you if it would help?
> >
> > Suzi
> >
> >
> > _______________________________________________
> > 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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On Wed, 22 Mar 2006, Kahlara wrote:

> I haven't yet established an SCA name and will be wearing modern
> garb....and will have my sometimes reticent, sometimes talk your ear
> off fiance in tow. Don't take it personally if he stands to one side
> and glowers.

Oh, good, a man. It's nice to get men in the room! Tell him that my
father, husband, and father-in-law (all engineers) were surprised to find
that they enjoyed my lectures because I explained the structural
engineering aspects of clothing construction; they all said it was the
first time they found sewing interesting.

Although it was a little weird to be demonstrating the bust-supporting
aspects of the fitted dress when you know your parents *and* your in-laws
are in the audience (which happened a year or two ago, when I finally gave
the series within driving distance of our hometown). Try telling your mom
that you go on these weekend trips so that you can jump up and down on a
stage while a roomful of paying customers stare at your bosom...

--Robin


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In a message dated 3/22/2006 2:15:50 P.M. Eastern Standard Time,  
betsy@softwareinnovation.com writes:

I seem  to recall "queue" 


That's the word! No wonder I couldn't remember how to spell it...it has 3  
different letters and 2 of them repeat in the same order....right after each  
other!
 
:-P
 
Yes, in school we called a man's  18th century wig with a pony tail a  "queue 
wig"....and the bag a "queue bag".
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
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The lecture that Robin is discussing right now is in Oregon, not too far from Portland, as the crow flies.  I'm carpooling with 2 others down from the Seattle-Tacoma area to attend.
 
Hey, anyone else willing to have a Red "H" or something so that we can identify ourselves at the lecture?  I know there were others at the Sewing and Stitchery Expo at the beginning of this month, and would have liked to have been able to meet you. 
 
 
 
Angharad/ Jonnalyhn Wolfcat
 
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From: Althea Turner <althea@alfalfapress.com>
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Are you implying we're Red herrings? :D
Actually I'm a pike.

Althea


On Mar 22, 2006, at 11:41 AM, Angharad ver' Reynulf wrote:

> The lecture that Robin is discussing right now is in Oregon, not  
> too far from Portland, as the crow flies.  I'm carpooling with 2  
> others down from the Seattle-Tacoma area to attend.
>
> Hey, anyone else willing to have a Red "H" or something so that we  
> can identify ourselves at the lecture?  I know there were others at  
> the Sewing and Stitchery Expo at the beginning of this month, and  
> would have liked to have been able to meet you.
>
>
>
> Angharad/ Jonnalyhn Wolfcat
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

Althea Turner
althea@alfalfapress.com

"Ignorant themselves of the forces of nature and wanting to have  
company in their ignorance, they don't want people to look into  
anything; they want us to believe like peasants and not ask the  
reasons behind things."
William of Conches, 12th century


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Date: Wed, 22 Mar 2006 12:11:15 -0800 (PST)
Subject: Re: [h-cost] New book on medieval braid
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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>  From another list I use
>
> Suzi

COOL!  Thanks for sharing :~>  You people are so evil....

Diana


> ADVANCE NOTIFICATION
>
> Tak v Bowes Departed: A 15th Century Braiding Manual Examined
> by Elizabeth Benns and Gina Barrett
>
> Tak v bowes departed is an in-depth study of Article 4, British
> Library Manuscript Harley 2320. This treatise, which dates to the
> fifteenth century, gives instructions for making forty different
> braids of varying complexity.
>
> Braids such as these were used for a variety of purposes during the
> medieval period; lacing clothes, purse strings, decorative trim and
> seal tags. This book discusses the background of the original
> manuscript; who may have owned it, how it was made, and compares the
> spelling and language with other similar documents.
>
> Tak v bowes departed concludes with modern instructions to make each
> of the braids; original errors have been corrected and noted, and
> each braid is clearly illustrated for reference. The instructions are
> provided as both text and diagrams, and include a detailed overview
> of the technique of 'fingerloop braiding' for those new to this skill.
>
>
> For further information and to order your advance copy, visit
> <http://www.takvbowes.co.uk>http://www.takvbowes.co.uk
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
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On Wed, 22 Mar 2006, REBECCA BURCH wrote:

> Okay, I can't stand it anymore.  Where is this lecture?  Is there a
> mailing list to get on for notices for things like this and the big
> conference somebody mentioned in Michigan?  Kalamazoo, maybe?

OK, two different things here. Second question first.

The International Congress on Medieval Studies is the world's largest
interdisciplinary conference on the Middle Ages. Every May, thousands of
scholars and students from around the world converge on Kalamazoo,
Michigan for four days and nights of sessions and events devoted to
medieval studies. This includes more than 500 sessions with an average of
three paper presentations each, as well as meetings, receptions, concerts,
book shopping, and more. Papers and session topics cover the full range of
medieval studies, with strong emphases on literature (mostly English and
other European languages), history (including political history, social
history, economic history, etc.), art history, music, religion, and other
traditional fields of study.

Four of those 500-odd sessions are sponsored by DISTAFF, a group I
organized with Gale Owen-Crocker for the sole purpose of sponsoring
conference sessions on medieval dress and textiles. In addition, there are
often other papers and even occasional sessions elsewhere on the Congress
program that have a dress and textiles focus. This year I count eight such
sessions total (including the four DISTAFF sessions) plus about a dozen
individual papers scattered around other sessions.

Kalamazoo is an academic conference, and geared to the academic
researcher. It is not a re-enactment event. However, quite a few
re-enactors who are interested in scholarly research in medieval studies
do go there, with the understanding that they are there as
students/scholars. The conference is hard to get to and expensive, but if
this is up your alley, it is a heady and rewarding experience.

Further information, including the full schedule of sessions, is at the
Congress website, http://www.wmich.edu/medieval/congress/ . If you are
interested in going, be aware that dorm space fills up FAST and may
already be full. Preregistration ends April 15; cost at the door is
slightly higher. 

Kalamazoo has a mailing list for sending the annual call for papers and
registration materials. If you're specifically interested in costume
sessions, you're welcome to e-mail me privately to get on the DISTAFF
e-mail announcement list, and you'll get notices of what we're doing with
our sessions both at Kalamazoo and the other major medieval conference in
Leeds, England. I'll also be happy to answer questions about K'zoo via
direct e-mail, but be warned I probably won't write you back till next
week, since I'll be away lecturing this weekend.

Which brings us to your other question. As a scholar of medieval dress and
textiles, I do academic research and present my findings at conferences
such as Kalamazoo. I'm not affiliated with a college or university, but
occasionally I also am asked to do guest lectures. And sometimes I'm asked
to speak for private groups, particularly the SCA and other costuming or
re-enactment organizations. For these sorts of groups, I've taken a number
of my scholarly presentations and adapted them for a re-enactor/costumer
audience -- more information on construction, for instance. These are the
lectures people on this list are talking about when they say they've heard
me speak.

Sometimes I give just one or two classes as an invited speaker at an SCA
"university" event. Other times, a group brings me in to do a full day of
lectures. That's what I'm doing this weekend in Portland, Oregon. The
webpage about the event is here:
http://www.ithra.antir.sca.org/idisplay.php?topic=classes&it=5433
...but I'm afraid it's sold out.

I always announce my public appearances on this list. You can also write
me privately and tell me where you're located, and I'll put you on my list
of people to contact if I'm going to be speaking in your area. If your
group wants to discuss to bringing me in, e-mail me directly.

--Robin


==========================================================
Robin Netherton 
Editor, Medieval Clothing and Textiles
robin@nightowl.net
voice: (314) 439-1222 // fax: (314) 439-1333
Life is just a bowl of queries.

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
To: BRITARCH List <britarch@jiscmail.ac.uk>,
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Subject: [h-cost] Drawn Wire Thread
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Status: RO

Fortuitous tripping upon this page pretty much clears
up the question I asked recently about gold
wire-wrapped embroidery thread:
http://www.et-tu.com/soper-lane/access/gold.htm

Incidentally, written by the same woman that wrote
this upcoming book:
http://takvbowes.et-tu.com/index.shtml
(second posting of this link, I know, ignore it if it
bores you.)

Kathy

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] New book on medieval braid
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At 20:11 22/03/2006, you wrote:

> >  From another list I use
> >
> > Suzi
>
>COOL!  Thanks for sharing :~>  You people are so evil....


Who me? Never. She has made a woven silk medieval belt for me, so I 
am delighted to advertise her book.

Suzi

>Diana
>
>
> > ADVANCE NOTIFICATION
> >
> > Tak v Bowes Departed: A 15th Century Braiding Manual Examined
> > by Elizabeth Benns and Gina Barrett
> >
> > Tak v bowes departed is an in-depth study of Article 4, British
> > Library Manuscript Harley 2320. This treatise, which dates to the
> > fifteenth century, gives instructions for making forty different
> > braids of varying complexity.
> >
> > Braids such as these were used for a variety of purposes during the
> > medieval period; lacing clothes, purse strings, decorative trim and
> > seal tags. This book discusses the background of the original
> > manuscript; who may have owned it, how it was made, and compares the
> > spelling and language with other similar documents.
> >
> > Tak v bowes departed concludes with modern instructions to make each
> > of the braids; original errors have been corrected and noted, and
> > each braid is clearly illustrated for reference. The instructions are
> > provided as both text and diagrams, and include a detailed overview
> > of the technique of 'fingerloop braiding' for those new to this skill.
> >
> >
> > For further information and to order your advance copy, visit
> > <http://www.takvbowes.co.uk>http://www.takvbowes.co.uk
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
>www.RenaissanceFabrics.net
>"Everything for the Costumer"
>
>"Become the change you want to see in the world."
>--Ghandi
>
>_______________________________________________
>h-costume mailing list
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>>what is a vaskene (long S by the way)?

Hi Regina/Wanda,

Long time no see, but I'll see you this weekend.

My understanding is that a vasquine (or vasquina) would be a kirtle, 
skirt, or petticoat, (interchangeably!).

So sayeth me and The Bob, amen.

Best regards,

Meagn (who will be there this weekend, and knew Robin when she was 
still in high school.)

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Subject: [h-cost] Costume Society Journal, No.7 U.K. version
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If anyone has a copy of the Costume Society Journal number 7, with 
the pattern of the boy's 18th century suit,  please could you contact 
me - I can't find mine, and I need the pattern slightly urgently!! 
(Or at least some information from the pattern.)

Suzi, panicking slightly!


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On Wed, 22 Mar 2006 tudorldy@aol.com wrote:

> Meagn (who will be there this weekend, and knew Robin when she was 
> still in high school.)

Ohmygoodness -- I've known only one person who spells her name that way!

Yes, Meagn knew me when I was a ditzy teenager. And hasn't seen me for
more than a quarter of a century.

Oh, I'm looking forward to this weekend. I don't think I've ever had an
audience where I've "known" this many people.

--Robin


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Subject: Re: [h-cost] Re: this list
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the big conference
somebody mentioned in Michigan?  Kalamazoo, maybe?

Here is the link to the Medieval Congress in Kalamazoo  http://www.wmich.edu/medieval/congress/  .   This is a major event for medieval scholars from around the world that takes place every year in early May.  An organization called DISTAFF (founded in part by Robin) has actively worked for several years to give medieval costuming research a presence there.  You will find the full list of sessions on the web site but a couple of the interesting ones are:
"Old Clothes, New Tools I: Computer-Related Tools for the Study of Dress and Clothing Culture"
"Dress and Textiles IV: Headwear"
"Personal Effects: What They Carried and What They Wore"
"Dress and Textiles I: Weaving and Spinning"
and several more costume ones and a great many non-costume ones depending on what other interests you have.  There are also dozens of booksellers.

Janet
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To: "Historical Costume" <h-costume@indra.com>, <dragonwolfcat@yahoo.com>
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Subject: Re: [h-cost] Re: this list (at the lecture in Portland)
Date: Wed, 22 Mar 2006 12:27:34 -0800
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> The lecture that Robin is discussing right now is in Oregon, not too far
from Portland, as the crow flies.  I'm carpooling with 2 others down from
the Seattle-Tacoma area to attend.
>
> Hey, anyone else willing to have a Red "H" or something so that we can
identify ourselves at the lecture?  I know there were others at the Sewing
and Stitchery Expo at the beginning of this month, and would have liked to
have been able to meet you.
>
>

I'll be coming down from Seattle for the lecture as well, but am spending
the rest of the weekend at a gaming con.  I think that a red H is a good
idea - I'd just have to find time to make one :-)

Susan Paraventur

>
> Angharad/ Jonnalyhn Wolfcat
>

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> Hey, anyone else willing to have a Red "H" or something so that we can
> identify ourselves at the lecture?

     We did this a couple years back at a Costume Society of America
meeting.  I brought a red Sharpie marker with me and it was easy for
list members to write a red "H" on their name badges.

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Re: this list
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Well, we can't be holograms, or the class wouldn't be sold out!
 
*grin*
 
Angharad/ Jonnalyhn Wolfcat
(who will resist the urge to place the H on her forehead)


----- Original Message ----
From: Althea Turner <althea@alfalfapress.com>
To: Historical Costume <h-costume@indra.com>
Sent: Wednesday, March 22, 2006 12:01:57 PM
Subject: Re: [h-cost] Re: this list


Are you implying we're Red herrings? :D
Actually I'm a pike.

Althea
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> Hey, anyone else willing to have a Red "H" or something so that we 
> can identify ourselves at the lecture?  I know there were others at 
> the Sewing and Stitchery Expo at the beginning of this month, and 
> would have liked to have been able to meet you. 
>  
>  
>  
> Angharad/ Jonnalyhn Wolfcat

Regina's cooking up something in that regard.... ;)

Arlys
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Subject: [h-cost] RE: Costume Society Journal 
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My back issues don't go back that far, but they have a full set in our 
college library and I'll be there tomorrow - I'll take a copy of it and the 
associated info, so if you still need it by tomorrow night, I'll be able to 
help.

Kate


>From: Suzi Clarke <suzi@suziclarke.co.uk>
>Subject: [h-cost] Costume Society Journal, No.7 U.K. version
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <6.2.3.4.0.20060322203530.01d85de8@127.0.0.1>
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>
>
>If anyone has a copy of the Costume Society Journal number 7, with
>the pattern of the boy's 18th century suit,  please could you contact
>me - I can't find mine, and I need the pattern slightly urgently!!
>(Or at least some information from the pattern.)
>
>Suzi, panicking slightly!
>


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Date: Wed, 22 Mar 2006 22:03:33 +0000
From: rwfranz <rwfranz@hotpop.com>
Subject: Re: [h-cost] Kalamazoo conference
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Robin Netherton wrote:

>Kalamazoo is an academic conference, and geared to the academic
>researcher. It is not a re-enactment event. However, quite a few
>re-enactors who are interested in scholarly research in medieval studies
>do go there, with the understanding that they are there as
>students/scholars. The conference is hard to get to and expensive, but if
>this is up your alley, it is a heady and rewarding experience.
>  
>
The $125 registration fee  is not that expensive. I know I've paid quite 
a bit more than that to go to some conferences in other fields of study. 
It's a bit daunting to pay for the hotel room and travel expenses, but 
really, it's not as bad as all that, especially if you partner with 
someone else for the hotel room.

And if I was in Kalamazoo or within a few hours of there that weekend, 
I'd go. Just looking through the list of sessions, I'd have a hard time 
deciding which sessions to attend, but I'd go. The "Old Clothes, New 
Tools" sessions are rather enticing, but there are a host of others I'd 
love to attend also.

Roger
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Subject: [h-cost] Tudor costumes for "dummies"? Help for a theatrical group
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Right, my question/dilemma is this:

There is a very nice theatrical "amateur dramatics" group in my new Scottish 
hometown near Edinburgh, called the Linithgow Players. In the summer months 
they do plays dressed in Tudor costume at Linlithgow Palace,  the birthplace 
of Mary, Queen of Scots. They set place at the Court of James V and act out 
scenes with Mary, all for Historic Scotland (very similar to the National 
Trust or English Heritage). Anywya, that said, the costumes are.. ermm... 
uhm... not so very good, to be kind.

I offered, because I just moved here on my own three weeks ago (my partner's 
still serving and staioned 500 miles away *sniff*) and would like to get 
stuck in with costumes and people and to have something nice to do, to help 
with their costumes. That's all very well, but, while I know a hellofa lot 
about clothing 1660 - 1715 I know next to nothing about Tudor costumes. 
HELP! I am ordering Ninya's book, but as Teddy said rightly, this is a 
theatrical group, we don't need to nor want to make it authentic (they 
wouldn't even have the budget for that) but to make it look GOOD and make it 
look better than it is now. Bless them, some costumes are quite nice, but 
others, I think, we could definitely do something about that and I would 
love to help and get the needle going (and spend some time in the pub with 
company ;-) This is their photo page:

http://www.linlithgowplayers.org.uk/LPsite/PhotosRe-enactments.htm

Don't let yourself be fooled by the "reenactment" bit, I don't think they 
got the terminology quite right. It's definitely acting, not re-enacting and 
we would see it. :-)

Anyway, I don't know where to start, I feel lost in a jungle of Too Much 
Information. Can anyone, please pleae please point me into the right 
direction of where to start getting a really good feel for Tudor period 
costumes and, most importantly, which patterns could be adapted (I have 
Margo Anderson's Lady's wardrobe and Man's wardrobe) and if I can even use 
some commercial big companies patterns, because those are usually quite 
easy. Any and all help appreciated, I'd love it if I could help them get the 
look a bit more right and at the same time do it on a tiny (!!!) budget and 
a shoestring with only four hands to help (another lady's and mine - and I'm 
actually overworked at my new work anyway thus haven't got 'that' much 
time).

Thanks ever so much in advance, I really am drowning in websites, books, 
info, and just don't know where to start and where to go to for a theatrical 
good looking budget version (it has to be court costume) of Tudor costume.

Nicole

--------------------
"If you think education is expensive, try ignorance."

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] RE: Costume Society Journal 
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At 22:50 22/03/2006, you wrote:

>My back issues don't go back that far, but they have a full set in 
>our college library and I'll be there tomorrow - I'll take a copy of 
>it and the associated info, so if you still need it by tomorrow 
>night, I'll be able to help.

Kate, I now have a copy of the pattern, the important bit, but if you 
could copy the article I would really appreciate it.

Are you the lady in Kent - are you a member of the Kent Costume Trust 
- have we met? (I was at the 17th century study day in Maidstone last year.)

>Kate
>
>
>>
>>
>>If anyone has a copy of the Costume Society Journal number 7, with
>>the pattern of the boy's 18th century suit,  please could you contact
>>me - I can't find mine, and I need the pattern slightly urgently!!
>>(Or at least some information from the pattern.)
>>
>>Suzi, panicking slightly!


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>>> Meagn (who will be there this weekend, and knew Robin when she was
>>> still in high school.)

>>Ohmygoodness -- I've known only one person who spells her name that 
way!

>>Yes, Meagn knew me when I was a ditzy teenager. And hasn't seen me for
>>more than a quarter of a century.

>>Oh, I'm looking forward to this weekend. I don't think I've ever had 
an
>>audience where I've "known" this many people.

>>--Robin

One in the same.  You were no ditzier than any of us, then!  Keep in 
mind I was in a rather turbulent phase of my early 20s at the time.  I 
admit to more than a bit of passing envy (the good sort) for what 
you've been able to do with clothing history; my own work has been 
limited by personal circumstances.  I'm looking forward to the lecture 
- I know you'll be swamped there, but you'll get a smile from me.  I 
understand you look no different now than you did then, too!

Meagn

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Kalamazoo conference
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On Wed, 22 Mar 2006, rwfranz wrote:

> The $125 registration fee is not that expensive. I know I've paid
> quite a bit more than that to go to some conferences in other fields
> of study.  It's a bit daunting to pay for the hotel room and travel
> expenses, but really, it's not as bad as all that, especially if you
> partner with someone else for the hotel room.

For those who don't mind spartan accommodations, the dorms are cheap and
have the advantage of being smack in the middle of the action. If you have
very good fortune, you get a dorm room in the same building that houses
the book rooms, a sprawling orgy of medieval delights.

> And if I was in Kalamazoo or within a few hours of there that weekend,
> I'd go. Just looking through the list of sessions, I'd have a hard
> time deciding which sessions to attend, but I'd go. The "Old Clothes,
> New Tools" sessions are rather enticing, but there are a host of
> others I'd love to attend also.

Beth McMahon, the organizer of the OCNT sessions, is a sometime member of
this list and a DISTAFF member (and past speaker) from way back. We are
both very happy that the Institute granted our request not to
cross-schedule her sessions with the DISTAFF track!

--Robin

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Subject: [h-cost] Robin in PORTLAND this weekend...
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Okay, I figured I better change the subject line.  

I'll be driving down I-5 from Southwest Washington to Forest Grove on Saturday.  Anyone in Vancouver/Portland that would like to carpool, please contact me privately.  I hate to take my big 15 passenger van down there with just me in it.

LuAnn in Washington State
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From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Book on Lace Question
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On 3/21/06, Alexandria Doyle <garbaholic@gmail.com> wrote:
>
>  I have posted the majority of my image collection on the Yahoo group
> "Miniature Costumers Guild" in the photo section under "Alexandria - 16th C
> Doll art"
>



For those that wanted to see the images from the lace book I've posted the
new image, of "James 1 family" and the cover painting, "GLarkin" to this
group, the doll art photo.

Thanks for all the help from everyone in indentifying and locating copies of
these two painting.

Alexandria
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"Historic costume for the Stage" by Lucy Barton, is a great place to start.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Nicole Kipar
Sent: Wednesday, March 22, 2006 2:05 PM
To: h-costume@indra.com
Subject: [h-cost] Tudor costumes for "dummies"? Help for a theatrical group


Right, my question/dilemma is this:

There is a very nice theatrical "amateur dramatics" group in my new Scottish

hometown near Edinburgh, called the Linithgow Players. In the summer months 
they do plays dressed in Tudor costume at Linlithgow Palace,  the birthplace

of Mary, Queen of Scots. They set place at the Court of James V and act out 
scenes with Mary, all for Historic Scotland (very similar to the National 
Trust or English Heritage). Anywya, that said, the costumes are.. ermm... 
uhm... not so very good, to be kind.

I offered, because I just moved here on my own three weeks ago (my partner's

still serving and staioned 500 miles away *sniff*) and would like to get 
stuck in with costumes and people and to have something nice to do, to help 
with their costumes. That's all very well, but, while I know a hellofa lot 
about clothing 1660 - 1715 I know next to nothing about Tudor costumes. 
HELP! I am ordering Ninya's book, but as Teddy said rightly, this is a 
theatrical group, we don't need to nor want to make it authentic (they 
wouldn't even have the budget for that) but to make it look GOOD and make it

look better than it is now. Bless them, some costumes are quite nice, but 
others, I think, we could definitely do something about that and I would 
love to help and get the needle going (and spend some time in the pub with 
company ;-) This is their photo page:

http://www.linlithgowplayers.org.uk/LPsite/PhotosRe-enactments.htm

Don't let yourself be fooled by the "reenactment" bit, I don't think they 
got the terminology quite right. It's definitely acting, not re-enacting and

we would see it. :-)

Anyway, I don't know where to start, I feel lost in a jungle of Too Much 
Information. Can anyone, please pleae please point me into the right 
direction of where to start getting a really good feel for Tudor period 
costumes and, most importantly, which patterns could be adapted (I have 
Margo Anderson's Lady's wardrobe and Man's wardrobe) and if I can even use 
some commercial big companies patterns, because those are usually quite 
easy. Any and all help appreciated, I'd love it if I could help them get the

look a bit more right and at the same time do it on a tiny (!!!) budget and 
a shoestring with only four hands to help (another lady's and mine - and I'm

actually overworked at my new work anyway thus haven't got 'that' much 
time).

Thanks ever so much in advance, I really am drowning in websites, books, 
info, and just don't know where to start and where to go to for a theatrical

good looking budget version (it has to be court costume) of Tudor costume.

Nicole

--------------------
"If you think education is expensive, try ignorance."

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How do I get to that site, please? If I go to Yahoo.com, and put in
"miniature costumers guild", I don't get it.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Alexandria Doyle
Sent: Wednesday, March 22, 2006 5:15 PM
To: Historical Costume
Subject: Re: [h-cost] Re: Book on Lace Question


On 3/21/06, Alexandria Doyle <garbaholic@gmail.com> wrote:
>
>  I have posted the majority of my image collection on the Yahoo group 
> "Miniature Costumers Guild" in the photo section under "Alexandria - 
> 16th C Doll art"
>



For those that wanted to see the images from the lace book I've posted the
new image, of "James 1 family" and the cover painting, "GLarkin" to this
group, the doll art photo.

Thanks for all the help from everyone in indentifying and locating copies of
these two painting.

Alexandria
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Subject: dolls -- mini costume guild (was Re: [h-cost] RE:Address?
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Quoting "Sharon at Collierfam.com" <sharon@collierfam.com>:

> How do I get to that site, please? If I go to Yahoo.com, and put in
> "miniature costumers guild", I don't get it.

I don't think that this has been answered yet, but it's
http://groups.yahoo.com/group/mini_costume_guild

Susan
----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: [h-cost] houpelande fabric?
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What would be a good fabric to use to make a houpelande?
Is taffeta too stiff to use?  This would be for a man's, thigh length and perhaps bag or wing type sleeves.
Thanks for your input, in advance.

Lyonet   (delurking for a moment)
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You sure did when I flew to Boise to see you!
--Sue

----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 22, 2006 9:27 AM
Subject: Re: [h-cost] Re: this list


> 
> On Wed, 22 Mar 2006, Nancy Millis-MacHaffie wrote:
> 
> > This will make you really nervous Robin.  :D
> > 
> > I keep waking up thinking "3 more days!"
> 
> Oh, gee. I hope I live up to expectations!
> 


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Again on the Portland lectures
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When I looked yesterday they were sold out ... but there appear to have
been some cancellations. Three spaces showing right now. I don't know if
there's a waiting list already, but if you missed out and want to go, now
is the time to check with the event planners.

Info here:
http://www.ithra.antir.sca.org/idisplay.php?topic=classes&it=5433

--Robin
packing frantically

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Date: Thu, 23 Mar 2006 00:56:01 -0500
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Subject: [h-cost] NESAT IV
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I telephoned David Brown Book Company, the American affiliate of Oxbow Books, 
to find out whether they could get any more copies of NESAT IV, which they 
had been advertising on their website about a year ago.

I was told that they still had 3 copies.  So I ordered one.  However, that 
leaves two other copies.  I mention this in case anyone on this list has been 
looking for this increasingly hard-to-find work.  The price is about $66 USD.


-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] houpelande fabric?
Date: Thu, 23 Mar 2006 00:00:35 -0600
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Do not overlook the upholstery/drapery section of your fabric store-
Heavier weights, but good/large patterns, and reasonably "flowy" drape
 -just avoid the ones with the rubber/vinyl backing! 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of mischele1
Sent: Wednesday, March 22, 2006 8:53 PM
To: h-costume@mail.indra.com
Subject: [h-cost] houpelande fabric?

What would be a good fabric to use to make a houpelande?
Is taffeta too stiff to use?  This would be for a man's, thigh length and
perhaps bag or wing type sleeves.
Thanks for your input, in advance.

Lyonet   (delurking for a moment)
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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That's right - it's the French for "tail". In the UK we also use it for what Americans call "standing in line".

Kate Bunting
Librarian and 17th century reenactor

>>> AlbertCat@aol.com 22/03/2006 19:30 >>>
 
In a message dated 3/22/2006 2:15:50 P.M. Eastern Standard Time,  
betsy@softwareinnovation.com writes:

I seem  to recall "queue" 


That's the word! No wonder I couldn't remember how to spell it...it has 3  
different letters and 2 of them repeat in the same order....right after each  
other!
 
:-P
 
Yes, in school we called a man's  18th century wig with a pony tail a  "queue 
wig"....and the bag a "queue bag".
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Subject: [h-cost] smell of spiral steel boning
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I have a reel of uncut spiral steel boning that I've had for a while, still 
in the bag the shop put it in. I took it out last night because I want to 
use it for a wedding dress I'm making for a friend, but it seems to have a 
really strong, acrid smell to it. I know it will be in a casing and below a 
couple of layers of fabric, but as it's a wedding dress I don't really want 
the bride to be able to smell it! Has anyone else had this problem and is 
there a solution? I don't want to clean it with WD40 or anything, as 
obviously that could leave marks on the fabric. Would it help if I just 
"aired" it?

Any ideas gratefully received.

Kate


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From: stilskin@netspace.net.au
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] smell of spiral steel boning
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Belive it or not, metal has a smell.
Providing your supplier has not done something you are not aware of, this is 
normal.

Give it a rub with a soft cloth then let it air,


-C.

> I have a reel of uncut spiral steel boning that I've had for a while, still
> in the bag the shop put it in. , but it seems to have a
> really strong, acrid smell to it. 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] ladys 18th century tangled garden
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Hi,
I  have uploaded some pictures of the jacket i am working on for my girl 
friend in Sweden.
This bodice i have drafted after a girls jacket in a danish museum. The 
peplum skirt is gathered to the bodice on the girls jacket, but i am not 
sure if i should do this on a grown up ladys jacket?
http://home0.inet.tele.dk/drewscph/jacket.html
I have drawn on the muslin, how i want the embroidery to look like. I need 
to add the sleave frills, 2 but it will come later.
The bodice is laced over the stomacher for closing.
What do you think i should, gather or pleat?

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>
Subject: Re: [h-cost] ladys 18th century tangled garden
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Pleats or gathers where?  Sleeves or peplum?  Gathers for the sleeves, 
pleats for the peplum is my vote!
Bjarne og Leif Drews wrote:

> Sg


Who wishes she had a boyfriend like Bjarne!

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Subject: Re: [h-cost] ladys 18th century tangled garden
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Hi Saragrace,
Yes pleated peplum and gathered sleaves, that is how i would like it.
Do you think i should tea dye the bobbin lace? Or is it just the old garment 
wich has yellowed in time?
The taffeta of the jacket is very nice isabella colloured.
Greyish cream.

Bjarne

----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 23, 2006 1:40 PM
Subject: Re: [h-cost] ladys 18th century tangled garden


> Pleats or gathers where?  Sleeves or peplum?  Gathers for the sleeves, 
> pleats for the peplum is my vote!
> Bjarne og Leif Drews wrote:
>
>> Sg
>
>
> Who wishes she had a boyfriend like Bjarne!
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Thu, 23 Mar 2006 12:58:44 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] ladys 18th century tangled garden
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At 12:48 23/03/2006, you wrote:
>Hi Saragrace,
>Yes pleated peplum and gathered sleaves, that is how i would like it.
>Do you think i should tea dye the bobbin lace? Or is it just the old 
>garment wich has yellowed in time?
>The taffeta of the jacket is very nice isabella colloured.
>Greyish cream.
>
>Bjarne


A lace collecting friend of mine, (who coincidentally lives in 
Copenhagen,) explained to me that old lace is not usually dyed with 
anything, but is made with either bleached or unbleached linen 
thread. The Victorians began the habit of tea dyeing in order a) to 
make it look "old" and b) to make it resemble old master paintings, 
which of course had become dirty and yellowed with age. If you look 
at well cleaned paintings, before and after, you can see why they 
made the assumption.

Also, she has shown me original lace, and I have a few pieces of my 
own, and they are very pale, off white in colour. You can tea dye if 
that is the effect you want, but it would not enhance your embroidery 
in my opinion.

Suzi 


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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] ladys 18th century tangled garden
To: Historical Costume <h-costume@indra.com>
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--- WickedFrau <wickedfrau@msn.com> wrote:
> > Bjarne og Leif Drews wrote:
> > Pleats or gathers where?  Sleeves or peplum? 

> Gathers for the sleeves, pleats for the peplum is
> my vote!
> 
> > Sg

I'll go with this, too, or pleats on both.

Ann in CT

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Subject: Re: [h-cost] ladys 18th century tangled garden
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In making a jacket of this mode,I
 have found that the kind of fabric sort of dictates whether or not to
gather or pleat. I think that pleating has a more formal look. Given the
planned embroidery, the formalness of the garment is already indicated.
I have made several of this style and have found that if the fabric is thick
or heavy, trying to pleat is ends up with a very stiff flare in the areas
that most need drape.

Kathleen
----- Original Message ----- 
From: "Ann Catelli" <elvestoorder@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 23, 2006 8:31 AM
Subject: Re: [h-cost] ladys 18th century tangled garden


>
> --- WickedFrau <wickedfrau@msn.com> wrote:
> > > Bjarne og Leif Drews wrote:
> > > Pleats or gathers where?  Sleeves or peplum?
>
> > Gathers for the sleeves, pleats for the peplum is
> > my vote!
> >
> > > Sg
>
> I'll go with this, too, or pleats on both.
>
> Ann in CT
>
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In a message dated 3/23/2006 7:28:35 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

What do  you think i should, gather or pleat?



How about lots of tiny pleats....a compromise.
 
Or cut the jacket skirts directly into the bodice pieces....but then you  
have a different jacket.
 
On "Last of the Mohicans" one of the boned jacket-bodices I made for the  
towns women had a gathered skirt like this. I found it in a drawing  from 
"Costume in Detail" I think....anyway I had to show the drawing to the  designer 
before I did it. It was a garment for an adult. I was just looking for  some 
variety in the 16 jackets I had to make off the same basic  pattern.
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] smell of spiral steel boning
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Quoting stilskin@netspace.net.au:

> Belive it or not, metal has a smell.
> Providing your supplier has not done something you are not aware of, this is
> normal.

I think that they treat it with an acid wash -- that's what it would
smell like.


>
>> I have a reel of uncut spiral steel boning that I've had for a while, still
>> in the bag the shop put it in. , but it seems to have a
>> really strong, acrid smell to it.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: [h-cost] Re: Tudor costumes for dummies
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Nicole, 
 
Check out this web site for a very nice lady's Tudor made with commercial patterns:
 
http://photos.ladybrooke.com/sca/gowns/velvetgown/gettingstarted.htm
 
Here's a page for reenactors, though it looks like mostly peasant stuff:
 
http://freespace.virgin.net/f.lea/index.htm
 
Listmember Dawn has some simple and easy patterns which may be useful to you:
 
http://www.reddawn.net/costume/patterns.htm
 
And she also has a list of commercial costume patterns with reviews of each. One or two of these are pretty good for men's Tudor, if made in the right fabrics:
 
http://www.reddawn.net/costume/costpat.htm
 
Check out eBay for out-of-print patterns.
 
Hope this helps.
 
Tea Rose
 
P.S. I LOVE your Madam Scarlet pictures!
 
 
 
============================================
 
Date: Wed, 22 Mar 2006 22:05:26 +0000
From: "Nicole Kipar" <marquesate@hotmail.com>
Subject: [h-cost] Tudor costumes for "dummies"? Help for a theatrical
    group

Can anyone, please pleae please point me into the right 
direction of where to start getting a really good feel for Tudor period 
costumes and, most importantly, which patterns could be adapted (I have 
Margo Anderson's Lady's wardrobe and Man's wardrobe) and if I can even use 
some commercial big companies patterns, because those are usually quite 
easy. 

Nicole

--------------------
"If you think education is expensive, try ignorance."
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To: Historical Costume <h-costume@indra.com>
Subject: Dawn (was Re: [h-cost] Re: Tudor costumes for dummies
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Quoting tearoses@aol.com:

*snippage*

>
> Listmember Dawn has some simple and easy patterns which may be useful to you:

*snippage*

I just got an email from Dawn, and she's having ISP problems with the
list.  She's still around!

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Date: Thu, 23 Mar 2006 16:51:31 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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I love the Dutch lady's jacket, Nicole. One of these days when I have a bit of spare time I mean to make one of those for myself...

Kate Bunting
Librarian and 17th century reenactor

>>> marquesate@hotmail.com 20/03/2006 23:32 >>>
Thank you ever so much for your kind words, Bjarne, Saragrace and Jean. :-) 
I do have a little bit to show, even though I didn't have much time for 
website updates. That was an understatement, I had no time. Here are some of 
my latest costumes & evening outfits:

http://www.kipar.org/salacious-historian/sewingprojects.html 

Nicole

--------------------
"If you think education is expensive, try ignorance."







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Gosh, I never got the original message *eyes mailing list*

Does this mean I missed out on other replies to my theatrical Tudor 
question, too?

Nicole

--------------------
"If you think education is expensive, try ignorance."





>From: "Susan B. Farmer" <sfarmer@goldsword.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Dawn (was Re: [h-cost] Re: Tudor costumes for dummies
>Date: Thu, 23 Mar 2006 11:47:38 -0500
>
>Quoting tearoses@aol.com:
>
>*snippage*
>
>>
>>Listmember Dawn has some simple and easy patterns which may be useful to 
>>you:
>
>*snippage*
>
>I just got an email from Dawn, and she's having ISP problems with the
>list.  She's still around!
>
>Susan
>-----
>Susan Farmer
>sfarmer@goldsword.com
>University of Tennessee
>Department of Ecology and Evolutionary Biology
>http://www.goldsword.com/sfarmer/Trillium/
>
>
>_______________________________________________
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Subject: [h-cost] houpelande fabric?
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> What would be a good fabric to use to make a houpelande?
> Is taffeta too stiff to use?  This would be for a man's, 
> thigh length and perhaps bag or wing type sleeves.
> Thanks for your input, in advance.

I've had really good results with wool flannel (_not_ coat weight), which drapes very like the pictures. But I'm a sucker for pretty fabrics and have made them out of brocades with reasonably good results. All but one of the upholstery brocades I've used have the problem of being slightly too stiff so that the sleeves and hem aren't flowing quite the way you see in the illuminations and in the portraits. The too stiff ones were similar to the fancy brocade tablecloths you see in Macys, if that helps at all.

My guess is that taffeta will be both too light (flopping around in the breeze) and too stiff to do bag sleeves well. One can get away with a lot with wing sleeves if you make them on the pattern that Cynthia proposes (http://www.virtue.to/articles/laurel/laurel_constr.html shown in green about 2/3s of the way down), and especially if you line it with something heavier. By the way, I had amazing results using Cynthia's bag sleeve schematic (unfortunately, I don't have any pictures... But it was great!) her article on it is http://www.virtue.to/articles/bag_sleeve.html. 

	-sunny

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Subject: [h-cost] Georgian Fair day
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This sounds like fun, too bad I'm on the wrong continent.

"On Georgian fair day, Cockermouth will be taking a step back in time.

Market Place will be transformed into a traditional Georgian town, 
complete with the hustle and bustle of market day and people dressed 
fully in period costume."


http://www.newsandstar.co.uk/news/viewarticle.aspx?id=344765



Dawn

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Costumers in Edinburgh?
Date: Thu, 23 Mar 2006 12:43:44 -0500
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The one with the fur?  YES!!!!

Susan

"Creative Clutter is Better Than Idle Neatness" Carol H.


On Mar 23, 2006, at 11:51 AM, Kate M Bunting wrote:

> I love the Dutch lady's jacket, Nicole. One of these days when I have 
> a bit of spare time I mean to make one of those for myself...
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>>>> marquesate@hotmail.com 20/03/2006 23:32 >>>
> Thank you ever so much for your kind words, Bjarne, Saragrace and 
> Jean. :-)
> I do have a little bit to show, even though I didn't have much time for
> website updates. That was an understatement, I had no time. Here are 
> some of
> my latest costumes & evening outfits:
>
> http://www.kipar.org/salacious-historian/sewingprojects.html
>
> Nicole
>
> --------------------
> "If you think education is expensive, try ignorance."
>
>
>
>
>
>
>
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Subject: Re: [h-cost] ladys 18th century tangled garden
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Hi Suzi,
Yes i also think it would be best to leave it as it is, this lace must be 
half silk and half linnen, because the rings in the pattern is a gimp made 
of chenille. And i think chenille was only made in silk.

Bjarne

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 23, 2006 1:58 PM
Subject: Re: [h-cost] ladys 18th century tangled garden


> At 12:48 23/03/2006, you wrote:
>>Hi Saragrace,
>>Yes pleated peplum and gathered sleaves, that is how i would like it.
>>Do you think i should tea dye the bobbin lace? Or is it just the old 
>>garment wich has yellowed in time?
>>The taffeta of the jacket is very nice isabella colloured.
>>Greyish cream.
>>
>>Bjarne
>
>
> A lace collecting friend of mine, (who coincidentally lives in 
> Copenhagen,) explained to me that old lace is not usually dyed with 
> anything, but is made with either bleached or unbleached linen thread. The 
> Victorians began the habit of tea dyeing in order a) to make it look "old" 
> and b) to make it resemble old master paintings, which of course had 
> become dirty and yellowed with age. If you look at well cleaned paintings, 
> before and after, you can see why they made the assumption.
>
> Also, she has shown me original lace, and I have a few pieces of my own, 
> and they are very pale, off white in colour. You can tea dye if that is 
> the effect you want, but it would not enhance your embroidery in my 
> opinion.
>
> Suzi
>
> _______________________________________________
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From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] ladys 18th century tangled garden
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I like the pleated look, it is a cleaner and more flattering line - it gets
my vote

Sarah Paterson

----- Original Message ----- 


> Hi,
> I  have uploaded some pictures of the jacket i am working on for my girl
> friend in Sweden.
> This bodice i have drafted after a girls jacket in a danish museum. The
> peplum skirt is gathered to the bodice on the girls jacket, but i am not
> sure if i should do this on a grown up ladys jacket?
> http://home0.inet.tele.dk/drewscph/jacket.html
> I have drawn on the muslin, how i want the embroidery to look like. I need
> to add the sleave frills, 2 but it will come later.
> The bodice is laced over the stomacher for closing.
> What do you think i should, gather or pleat?
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
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I even wear my lovely jacket to work. ;-) It's velvet, lined in linen and 
trimmed with rabbit fur, with silk ties.

Nicole


--------------------
"If you think education is expensive, try ignorance."





>From: Susan Data-Samtak <pasovasz@aol.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] Costumers in Edinburgh?
>Date: Thu, 23 Mar 2006 12:43:44 -0500
>
>The one with the fur?  YES!!!!
>
>Susan
>
>"Creative Clutter is Better Than Idle Neatness" Carol H.
>
>
>On Mar 23, 2006, at 11:51 AM, Kate M Bunting wrote:
>
>>I love the Dutch lady's jacket, Nicole. One of these days when I have a 
>>bit of spare time I mean to make one of those for myself...
>>
>>Kate Bunting
>>Librarian and 17th century reenactor
>>
>>>>>marquesate@hotmail.com 20/03/2006 23:32 >>>
>>Thank you ever so much for your kind words, Bjarne, Saragrace and Jean. 
>>:-)
>>I do have a little bit to show, even though I didn't have much time for
>>website updates. That was an understatement, I had no time. Here are some 
>>of
>>my latest costumes & evening outfits:
>>
>>http://www.kipar.org/salacious-historian/sewingprojects.html
>>
>>Nicole
>>
>>--------------------
>>"If you think education is expensive, try ignorance."
>>
>>
>>
>>
>>
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
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Subject: Re: [h-cost] smell of spiral steel boning
To: h-costume@indra.com
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I love the smell of spiral boning in the morning....smells like...victory!  
[Victoria?]
 
Anyway...I think the prob is just you have a huge amount of it that has  been 
shut up for a while. There might be some kind of lubrication on it to keep  
it supple and that's the smell. Airing it out, and the fact you'll be using a  
relatively small amount of that huge wad in the garment, will do the trick  I 
bet.
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: Dawn (was Re: [h-cost] Re: Tudor costumes for dummies
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Quoting Nicole Kipar <marquesate@hotmail.com>:

> Gosh, I never got the original message *eyes mailing list*
>
> Does this mean I missed out on other replies to my theatrical Tudor 
> question, too?

The server does wierd things sometimes.  There have been a couple of
answers to your question.  Have you seen any of the replies?

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: [h-cost] Re: smell of spiral steel boning
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An effective way to eliminate odors in books (tobacco smoke or musty) is to 
place the book in a sealed plastic bag with (unused) cat litter.  Check it 
periodically and when you no longer detect the offensive odor, remove and 
let air. The cat litter will absorb the odors and any moisture.

Beth

At 09:45 AM 3/23/2006, you wrote:
>Date: Thu, 23 Mar 2006 11:14:41 +0000
>From: "Kate Cole" <mrscakehole@hotmail.com>
>I have a reel of uncut spiral steel boning that I've had for a while, still
>in the bag the shop put it in. I took it out last night because I want to
>use it for a wedding dress I'm making for a friend, but it seems to have a
>really strong, acrid smell to it. I know it will be in a casing and below a
>couple of layers of fabric, but as it's a wedding dress I don't really want
>the bride to be able to smell it! Has anyone else had this problem and is
>there a solution? I don't want to clean it with WD40 or anything, as
>obviously that could leave marks on the fabric. Would it help if I just
>"aired" it?
>
>Any ideas gratefully received.
>
>Kate

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Subject: [h-cost] questions on kimono
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I've decided to revamp my casual wardrobe and am
leaning towards a Japanese theme.  
So now I have several questions.
I've started by doing web research and pulling out all
my appropriate patterns, Folkwear, etc and my copy of
Make Your Own Japanese Clothing.
Would the first layer be linen?  One of the on-line
tutorials shows what looks like a white tank-top and a
wrap skirt, then an underkimono and then the outer
robe.
What do you stiffen the collar with so it doesn't flop
over or crease when worn next to the neck?  I'm hoping
for something different than hair canvas.  Perhaps
multiple layers of muslin?  I want to be able to wash
the underkimono frequently like I would my linen
shifts.
The current incarnation of kimono seems to have become
formalized about 300 years ago.  What would have been
worn before then?
I want all the lower or under layers to stand up to
frequent washing so please keep that in mind when
throwing out suggestions.  
Any and all history, suggestions, and construction
hints welcome.
Thanks.
                                  Cassandra

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Subject: Re: [h-cost] questions on kimono
Date: Thu, 23 Mar 2006 14:01:25 -0500
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What is the time frame you're looking at?

Gwenhwyfar
  ----- Original Message ----- 
  From: Cascio Michael 
  To: h-costume@mail.indra.com 
  Sent: Thursday, March 23, 2006 13:40
  Subject: [h-cost] questions on kimono


  I've decided to revamp my casual wardrobe and am
  leaning towards a Japanese theme.  
  So now I have several questions.
  I've started by doing web research and pulling out all
  my appropriate patterns, Folkwear, etc and my copy of
  Make Your Own Japanese Clothing.
  Would the first layer be linen?  One of the on-line
  tutorials shows what looks like a white tank-top and a
  wrap skirt, then an underkimono and then the outer
  robe.
  What do you stiffen the collar with so it doesn't flop
  over or crease when worn next to the neck?  I'm hoping
  for something different than hair canvas.  Perhaps
  multiple layers of muslin?  I want to be able to wash
  the underkimono frequently like I would my linen
  shifts.
  The current incarnation of kimono seems to have become
  formalized about 300 years ago.  What would have been
  worn before then?
  I want all the lower or under layers to stand up to
  frequent washing so please keep that in mind when
  throwing out suggestions.  
  Any and all history, suggestions, and construction
  hints welcome.
  Thanks.
                                    Cassandra

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Subject: [h-cost] Cable ties and corsets
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Hi all,
 
I have a question for those who use cable ties in their corsets. I'm making my first 18th-century corset, and it turns out that because some of the channels run diagonally and the bank is so high, my cable ties aren't long enough. So, I'm wondering, will it really be that bad if the bones aren't continuous? I tried tying two bones together, but they made a lump that looked like it might be uncomfortable. Should I go and buy enough ridgeline to fill in the long channels? 
 
Thanks!
 
Tea Rose 
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From: Lynda Boots <primevalooze@yahoo.com>
Subject: Re: [h-cost] Dutch 1660s fur jacket, was Costumers in Edinburgh?
To: Historical Costume <h-costume@indra.com>
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Is there a picture of this online?  I'd love to see
what it looks like.

Lynda

--- Nicole Kipar <marquesate@hotmail.com> wrote:

> I even wear my lovely jacket to work. ;-) It's
> velvet, lined in linen and 
> trimmed with rabbit fur, with silk ties.
> 
> Nicole
> 
> 
> --------------------
> "If you think education is expensive, try
> ignorance."
> 
> 
> 
> 
> 
> >From: Susan Data-Samtak <pasovasz@aol.com>
> >Reply-To: Historical Costume <h-costume@indra.com>
> >To: Historical Costume <h-costume@indra.com>
> >Subject: Re: [h-cost] Costumers in Edinburgh?
> >Date: Thu, 23 Mar 2006 12:43:44 -0500
> >
> >The one with the fur?  YES!!!!
> >
> >Susan
> >
> >"Creative Clutter is Better Than Idle Neatness"
> Carol H.
> >
> >
> >On Mar 23, 2006, at 11:51 AM, Kate M Bunting wrote:
> >
> >>I love the Dutch lady's jacket, Nicole. One of
> these days when I have a 
> >>bit of spare time I mean to make one of those for
> myself...
> >>
> >>Kate Bunting
> >>Librarian and 17th century reenactor
> >>
> >>>>>marquesate@hotmail.com 20/03/2006 23:32 >>>
> >>Thank you ever so much for your kind words,
> Bjarne, Saragrace and Jean. 
> >>:-)
> >>I do have a little bit to show, even though I
> didn't have much time for
> >>website updates. That was an understatement, I had
> no time. Here are some 
> >>of
> >>my latest costumes & evening outfits:
> >>
>
>>http://www.kipar.org/salacious-historian/sewingprojects.html
> >>
> >>Nicole
> >>
> >>--------------------
> >>"If you think education is expensive, try
> ignorance."
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >>_______________________________________________
> >>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
> 
>
_________________________________________________________________
> Are you using the latest version of MSN Messenger?
> Download MSN Messenger 
> 7.5 today! http://join.msn.com/messenger/overview
> 
> _______________________________________________
> h-costume mailing list
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> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: Re: [h-cost] Cable ties and corsets
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If the boning isn't continuous you will find that the garment is going to want to bend where the split is.  I am not really explaining this well, but if you bend a long piece of whatever you use for boning it will curve.  If you bend a section where there are two pieces butted together it will be a sharp bend.  That may be ok in some places, but you will probably be happier getting something that is long enough.  I have gotten cable ties a couple of feet long.  If that is what you really want to use, check around Lowe's, Home Depot and the like.  

Oh yes, you are right about joining them.  It would be uncomfortable and would probably show as a bump on your garment.  Good luck.

Lalah, Never give up, Never surrender

--- tearoses@aol.com wrote:

From: tearoses@aol.com
To: h-costume@indra.com
Cc:
Subject: [h-cost] Cable ties and corsets
Date: Thu, 23 Mar 2006 14:32:05 -0500

Hi all,
 
I have a question for those who use cable ties in their corsets. I'm making my first 18th-century corset, and it turns out that because some of the channels run diagonally and the bank is so high, my cable ties aren't long enough. So, I'm wondering, will it really be that bad if the bones aren't continuous? I tried tying two bones together, but they made a lump that looked like it might be uncomfortable. Should I go and buy enough ridgeline to fill in the long channels? 
 
Thanks!
 
Tea Rose 
_______________________________________________
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: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: smell of spiral steel boning
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At 10:21 AM 3/23/2006, you wrote:
>An effective way to eliminate odors in books (tobacco smoke or musty) is 
>to place the book in a sealed plastic bag with (unused) cat litter.  Check 
>it periodically and when you no longer detect the offensive odor, remove 
>and let air. The cat litter will absorb the odors and any moisture.
>
>Beth


Another may be to place the offensive item in a bag or other container with 
activated charcoal (like the kind you BBQ with) and leave for a day or two. 
It works great for really foul odors, like that of a refrigerator left 
unplugged with food inside for weeks before it was found. Yeah, that's the 
only thing that worked when I was an apartment manager. I haven't checked 
my kitty litter to see if it contains charcoal, but it probably has 
something similar working for it.

Kimiko


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] questions on kimono
Date: Thu, 23 Mar 2006 16:13:12 -0500
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Japanese used mostly silk. Any thing that had to be rigid had to be layered 
with the horse hair fabrics.
They stiffened it with horse hair cloth. Have you ever seen those tabs that 
stick up on the administrator's head. Looks like a black loop? That is horse 
hair cloth.
----- Original Message ----- 
From: "Cascio Michael" <rosenau5@yahoo.com>
To: <h-costume@mail.indra.com>
Sent: Thursday, March 23, 2006 1:40 PM
Subject: [h-cost] questions on kimono


> I've decided to revamp my casual wardrobe and am
> leaning towards a Japanese theme.
> So now I have several questions.
> I've started by doing web research and pulling out all
> my appropriate patterns, Folkwear, etc and my copy of
> Make Your Own Japanese Clothing.
> Would the first layer be linen?  One of the on-line
> tutorials shows what looks like a white tank-top and a
> wrap skirt, then an underkimono and then the outer
> robe.
> What do you stiffen the collar with so it doesn't flop
> over or crease when worn next to the neck?  I'm hoping
> for something different than hair canvas.  Perhaps
> multiple layers of muslin?  I want to be able to wash
> the underkimono frequently like I would my linen
> shifts.
> The current incarnation of kimono seems to have become
> formalized about 300 years ago.  What would have been
> worn before then?
> I want all the lower or under layers to stand up to
> frequent washing so please keep that in mind when
> throwing out suggestions.
> Any and all history, suggestions, and construction
> hints welcome.
> Thanks.
>                                  Cassandra
>
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Subject: [h-cost] Cleaning fur
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Hi,

I'm one of those people who love to read this list but rarely post.  Thank you all for all the interesting ideas and knowlege.

So to my question... How do you clean white fur?  I have purchased and old white mink fur coat and I'd like to clean it before I cut it up :)  I'd really rather not spend much more money on this project.  Any ideas?  

Also how do I cut it?  I am going to use it to trim a 15th century V necked gown.

Thanks!

Annette
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] Cable ties and corsets
Date: Fri, 24 Mar 2006 08:45:12 +1100
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----- Original Message ----- 
From: <tearoses@aol.com>
To: <h-costume@indra.com>
Sent: Friday, March 24, 2006 6:32 AM
Subject: [h-cost] Cable ties and corsets


> Hi all,
>
> I have a question for those who use cable ties in their corsets. I'm 
> making my first 18th-century corset, and it turns out that because some of 
> the channels run diagonally and the bank is so high, my cable ties aren't 
> long enough. So, I'm wondering, will it really be that bad if the bones 
> aren't continuous? I tried tying two bones together, but they made a lump 
> that looked like it might be uncomfortable. Should I go and buy enough 
> ridgeline to fill in the long channels?
>
> Thanks!
>
> Tea Rose

I've had some luck with taping cable ties together for extra length but I 
can only get my hands on the skinny ones (I've found two skinny cable ties 
per channel is sufficient in a fully boned corset [i.e. no gaps between the 
bones] and I'm about a size 18-20 and a DD cup so it's not like there's 
nothing to hold in) so I had 3 layers with the joins at different places 
like bricks in a wall. Of course if you use tape that would probably mean 
you couldn't wash it, but you really shouldn't need to wash a corset anyway.
This diagram is intended to show what the bones look like from the side
_ ___
__ __
___ _
HTH
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cleaning fur
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On Thu, 23 Mar 2006 fox3785@charter.net wrote:

> I'm one of those people who love to read this list but rarely post.  
> Thank you all for all the interesting ideas and knowlege.
> 
> So to my question... How do you clean white fur?  I have purchased and
> old white mink fur coat and I'd like to clean it before I cut it up :)  
> I'd really rather not spend much more money on this project.  Any
> ideas?
> 
> Also how do I cut it?  I am going to use it to trim a 15th century V
> necked gown.

Oh, then you want a *dark* fur. Dark fur was all the rage by the time the
V necked gowns came in.

Send the white stuff to me. Then you don't have to worry about cleaning it
;-)

--Robin


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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <BAY101-DAV63E08E2B8262927CEDEAFBCD80@phx.gbl>
Subject: Re: [h-cost] Princess Elizabeth sleeves
Date: Fri, 24 Mar 2006 09:00:53 +1100
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I found another diagram of an undersleeve pattern (I knew I'd seen it 
somewhere) 
http://www.livinghistory.co.uk/homepages/tudorcostumes/Bess_page3weddingGowndiary.html 
this is essentially the same as Jean Hunnisett's pattern, although if you're 
going to imitate Princess Elizabeth's sleeves you might want to make it 
larger and add some slashes.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/ 

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From: "Nicole Kipar" <marquesate@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] Cleaning fur
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I don't know how to clean it, but when it comes to the second part of your 
question I might be able to help. You cut the fur from the skin side witha  
very sharp scalpel. Make sure only to cut the skin, not the fur.

Nicole

--------------------
"If you think education is expensive, try ignorance."




>From: <fox3785@charter.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: [h-cost] Cleaning fur
>Date: Thu, 23 Mar 2006 13:11:38 -0800
>
>Hi,
>
>I'm one of those people who love to read this list but rarely post.  Thank 
>you all for all the interesting ideas and knowlege.
>
>So to my question... How do you clean white fur?  I have purchased and old 
>white mink fur coat and I'd like to clean it before I cut it up :)  I'd 
>really rather not spend much more money on this project.  Any ideas?
>
>Also how do I cut it?  I am going to use it to trim a 15th century V necked 
>gown.
>
>Thanks!
>
>Annette
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

_________________________________________________________________
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From: "Nicole Kipar" <marquesate@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] picture of Dutch 1660s fur jacket
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Here is one pic (excuse the way I look, it was 3 AM and back then I was 3 
sizes bigger than I am now ;-)

http://www.kipar.org/temp/dutch-fur-jacket.jpg

The other is on my costume diaries page on http://www.kipar.org

Nicole

--------------------
"If you think education is expensive, try ignorance."




>From: Lynda Boots <primevalooze@yahoo.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] Dutch 1660s fur jacket, was Costumers in Edinburgh?
>Date: Thu, 23 Mar 2006 10:55:30 -0800 (PST)
>
>Is there a picture of this online?  I'd love to see
>what it looks like.
>
>Lynda
>
>--- Nicole Kipar <marquesate@hotmail.com> wrote:
>
> > I even wear my lovely jacket to work. ;-) It's
> > velvet, lined in linen and
> > trimmed with rabbit fur, with silk ties.
> >
> > Nicole
> >
> >
> > --------------------
> > "If you think education is expensive, try
> > ignorance."
> >
> >
> >
> >
> >
> > >From: Susan Data-Samtak <pasovasz@aol.com>
> > >Reply-To: Historical Costume <h-costume@indra.com>
> > >To: Historical Costume <h-costume@indra.com>
> > >Subject: Re: [h-cost] Costumers in Edinburgh?
> > >Date: Thu, 23 Mar 2006 12:43:44 -0500
> > >
> > >The one with the fur?  YES!!!!
> > >
> > >Susan
> > >
> > >"Creative Clutter is Better Than Idle Neatness"
> > Carol H.
> > >
> > >
> > >On Mar 23, 2006, at 11:51 AM, Kate M Bunting wrote:
> > >
> > >>I love the Dutch lady's jacket, Nicole. One of
> > these days when I have a
> > >>bit of spare time I mean to make one of those for
> > myself...
> > >>
> > >>Kate Bunting
> > >>Librarian and 17th century reenactor
> > >>
> > >>>>>marquesate@hotmail.com 20/03/2006 23:32 >>>
> > >>Thank you ever so much for your kind words,
> > Bjarne, Saragrace and Jean.
> > >>:-)
> > >>I do have a little bit to show, even though I
> > didn't have much time for
> > >>website updates. That was an understatement, I had
> > no time. Here are some
> > >>of
> > >>my latest costumes & evening outfits:
> > >>
> >
> >>http://www.kipar.org/salacious-historian/sewingprojects.html
> > >>
> > >>Nicole
> > >>
> > >>--------------------
> > >>"If you think education is expensive, try
> > ignorance."
> > >>
> > >>
> > >>
> > >>
> > >>
> > >>
> > >>
> > >>_______________________________________________
> > >>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
> >
> >
>_________________________________________________________________
> > Are you using the latest version of MSN Messenger?
> > Download MSN Messenger
> > 7.5 today! http://join.msn.com/messenger/overview
> >
> > _______________________________________________
> > 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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Yes, I found that site a few days ago. Someone else mentioned it as well. 
Thanks for all the help from the list members. I'm sewing the body now and 
making the farthingale tomorrow. I'm cutting the gown tomorrow and can't 
wait to see on my daughter!
I found a jewlery maker that will help me with the necklaces, neckline gems 
and the girdle. She said she'd love to help me. Never hurts to ask for help.
----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 23, 2006 5:00 PM
Subject: Re: [h-cost] Princess Elizabeth sleeves


>I found another diagram of an undersleeve pattern (I knew I'd seen it 
>somewhere) 
>http://www.livinghistory.co.uk/homepages/tudorcostumes/Bess_page3weddingGowndiary.html 
>this is essentially the same as Jean Hunnisett's pattern, although if 
>you're going to imitate Princess Elizabeth's sleeves you might want to make 
>it larger and add some slashes.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/e_walpole/
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> h-costume mailing list
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> 
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Cleaning fur
Date: Thu, 23 Mar 2006 15:11:36 -0800
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My mom says you use cornmeal. Rub it into the fur, then brush out. Be sure
to go with the grain and be gentle. It's tedious. She says that is how
professional furriers do it.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of fox3785@charter.net
Sent: Thursday, March 23, 2006 1:12 PM
To: Historical Costume
Subject: [h-cost] Cleaning fur


Hi,

I'm one of those people who love to read this list but rarely post.  Thank
you all for all the interesting ideas and knowlege.

So to my question... How do you clean white fur?  I have purchased and old
white mink fur coat and I'd like to clean it before I cut it up :)  I'd
really rather not spend much more money on this project.  Any ideas?  

Also how do I cut it?  I am going to use it to trim a 15th century V necked
gown.

Thanks!

Annette
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From h-costume-bounces@indra.com  Thu Mar 23 18:25:24 2006
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From: roscelinlimoges@comcast.net
To: h-costume@indra.com (Historic Costuming)
Date: Thu, 23 Mar 2006 23:24:33 +0000
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Subject: [h-cost] OT - Fougeres, Brittany
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Greetings,

   I know there are several people who live in or near France - I'm seeking some info and history about Fougeres, Brittany.  If anyone would be interested in speaking to me off-list about this part of the country would you please e-mail me at roscelinlimoges@comcast.net   My thanks!

Roscelin

Daydreaming while curled up in a blanket.

P.S.   To those who asked me off line about the instructions to do Byzantine chain-maile.  I'm still looking for the book, we just resorted out books and still have a couple of piles that have not made it on to the shelves.  Will get back to you as soon as I break this flu bug which is soon I hope.
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From: "klh" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Cleaning fur
Date: Thu, 23 Mar 2006 17:25:45 -0600
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Sort of...professional furriers will tumble the fur in a barrel filled with
some sort of media such as walnut shells or sawdust, that has been charged
with a cleaning solution. Then the media is vacuumed out of the fur, and the
fur is steamed and pressed between rollers that line up and fluff the hairs.

I don't know if simple cornmeal will do the trick. Worth a try I guess,
depending on how valuable the fur is.

Talia

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sharon at Collierfam.com
Sent: Thursday, March 23, 2006 5:12 PM
To: 'Historical Costume'
Subject: RE: [h-cost] Cleaning fur


My mom says you use cornmeal. Rub it into the fur, then brush out. Be sure
to go with the grain and be gentle. It's tedious. She says that is how
professional furriers do it.
Sharon


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] Cleaning fur
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At 23:25 23/03/2006, you wrote:
>Sort of...professional furriers will tumble the fur in a barrel filled with
>some sort of media such as walnut shells or sawdust, that has been charged
>with a cleaning solution. Then the media is vacuumed out of the fur, and the
>fur is steamed and pressed between rollers that line up and fluff the hairs.
>
>I don't know if simple cornmeal will do the trick. Worth a try I guess,
>depending on how valuable the fur is.


I was always shown to clean fur with wheatmeal, or corn meal. For 
small items of white fur, my grandma used white breadcrumbs - yuck - 
they came out grey!

Be sure to give the coat a thorough shaking, even a beating, outdoors 
after using a food product though, otherwise there are a lot of 
little beasties that would just love to have a nibble!

Suzi 


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Subject: RE: [h-cost] OT - Fougeres, Brittany
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Or try here

http://www.dcwireworks.com/howto/weaves/byzantine/instruct.html



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of roscelinlimoges@comcast.net
Sent: Thursday, March 23, 2006 5:25 PM
To: Historic Costuming
S

P.S.   To those who asked me off line about the instructions to do Byzantine
chain-maile.  I'm still looking for the book, we just resorted out books and
still have a couple of piles that have not made it on to the shelves.  Will
get back to you as soon as I break this flu bug which is soon I hope.
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From: "Sue Clemenger" <mooncat@in-tch.com>
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Subject: Re: [h-cost] Cleaning fur
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Sorry, but the only white fur at my house is on the cats (tummies, mostly),
and they kind of take care of the cleaning bits on their own, and in fact,
actually resent any "help" I might offer. ;o)
Come to think of it, outside of a persian lamb coat I inherited from my
grandmother, the only fur in the house at all is on the four-legged
roommates.
Obligatory Costume Content: They're always willing to critique what I'm
making, but they are not the sort that would be at all tolerant of having
new costumes made for them. ;o)
--Sue in almost-springlike Montana

----- Original Message -----
From: <fox3785@charter.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 23, 2006 2:11 PM
Subject: [h-cost] Cleaning fur


> Hi,
>
> I'm one of those people who love to read this list but rarely post.  Thank
you all for all the interesting ideas and knowlege.
>
> So to my question... How do you clean white fur?  I have purchased and old
white mink fur coat and I'd like to clean it before I cut it up :)  I'd
really rather not spend much more money on this project.  Any ideas?
>
> Also how do I cut it?  I am going to use it to trim a 15th century V
necked gown.
>
> Thanks!
>
> Annette


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Subject: Re: [h-cost] Cleaning fur
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> Sort of...professional furriers will tumble the fur in a barrel filled 
> with
> some sort of media such as walnut shells or sawdust, that has been charged
> with a cleaning solution. Then the media is vacuumed out of the fur, and 
> the
> fur is steamed and pressed between rollers that line up and fluff the 
> hairs.
>
> I don't know if simple cornmeal will do the trick. Worth a try I guess,
> depending on how valuable the fur is.
>
> Talia

Cornmeal works, the same way it works as a dry 'shampoo' for your hair.  You 
just have to be sure to get it all brushed out.  A very gentle vacuuming 
will help, too.

Melusine 

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cleaning fur
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On Thursday 23 March 2006 9:45 pm, Sue Clemenger wrote:
[snip] 
> Obligatory Costume Content: They're always willing to critique what I'm
> making, but they are not the sort that would be at all tolerant of having
> new costumes made for them. ;o)

Ah, yes, but clearly cats are of different opinions about whether they will 
wear costume.  My cat refuses (albeit very politely) to wear anything other 
than a collar, but Cynthia Virtue's cats cheerfully wear the medievaloid 
headdresses she has made for them.  :-)

http://www.virtue.to/articles/images/cat_hat_s1.jpg
http://www.virtue.to/articles/images/cat_hat_s2.jpg
http://www.virtue.to/articles/images/cat_hat_a1.jpg

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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Subject: [h-cost] Re: cleaning fur
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1.  cornmeal - sift it into the fur, let sit, shake it out (outdoors, 
as it makes a mess....)
2.  try a dry pet shampoo - same idea - shake it on, let sit, shake 
or brush it out.

What someone else said - cut with a scalpel or very sharp knife, from 
the back.  Having just recently made things from an old fur coat, 
some suggestions:

1.  Completely disassemble the coat - remove linings, interlinings, 
fastenings, etc, so you can get a good look at the backside of the fur.
2.  Note that the furs are not whole skins - they are stripped and 
pieced - this is done to maximize the area one can get out of a single skin.
3.  Construction seams and piecing seams are similar, but 
construction seams are a bit larger/thicker.  Disassemble the 
construction until you have flat pieces.  If you get the right end of 
the thread, the stitching just pulls out - they're usually sewn with 
a type of chain stitch.
4.  Evaluate the skin (not the fur) condition carefully.  Check for 
holes, weak spots, or brittleness - Due to the size of the pieces I 
needed, one of the items ended up with several holes that needed to 
be creatively patched.  While patching, some of the skin I was trying 
to stitch to just crumbled.  :(
5.  Make sure you get the lay of the fur the way you want it when you 
cut out your trims.

Good Luck!
Sandy

At 04:37 PM 3/23/2006, you wrote:
>Date: Thu, 23 Mar 2006 13:11:38 -0800
>From: <fox3785@charter.net>
>Subject: [h-cost] Cleaning fur
>
>So to my question... How do you clean white fur?  I have purchased 
>and old white mink fur coat and I'd like to clean it before I cut it 
>up :)  I'd really rather not spend much more money on this 
>project.  Any ideas?
>
>Also how do I cut it?  I am going to use it to trim a 15th century V 
>necked gown.
>
>Annette

"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: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: this list
Date: Thu, 23 Mar 2006 20:59:19 -0800
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I'm in such fear of driving fatigue that I'm driving all the way from North
East Portland and staying the night at the McMennamen's Grand Lodge in
Forest Grove.  It used to be an Odd Fellows Home (seems appropriate) and is
relatively inexpensive for the fun.  Plus it's just down the street from the
lecture.

Have Red Sharpies Packed as well as red craft paper and pins.

Regina Romsey/Wanda

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of aquazoo@patriot.net
> Sent: Wednesday, March 22, 2006 12:59 PM
> To: Historical Costume
> Subject: Re: [h-cost] Re: this list
>
>
> > Hey, anyone else willing to have a Red "H" or something so that we can
> > identify ourselves at the lecture?
>
>      We did this a couple years back at a Costume Society of America
> meeting.  I brought a red Sharpie marker with me and it was easy for
> list members to write a red "H" on their name badges.
>
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Subject: [h-cost] Eyelet insertion trim
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Does anyone have any good online trim resources besides Jay Trims and 
Cheaptrims?  I am looking for black eyelet insertion or dyeable white 
and can't seem to find it anywhere.

Sylrog

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Cable ties and corsets
Date: Thu, 23 Mar 2006 22:09:38 -0800
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I have found some cable ties that are made for Ducts.  They are over 45"
long and nice and sturdy without being incredibly thick. I was looking at
buying them for something like this because they come in bundles of 10 or
more.  Actually, they are long enough that I was thinking about buying
several packages and simply cutting them to the length I needed.  I figured
I could get at least 3 bones out of each one.

Regina 24, 2006 6:32 AM
> Subject: [h-cost] Cable ties and corsets
>
>
> > Hi all,
> >
> > I have a question for those who use cable ties in their corsets. I'm
> > making my first 18th-century corset, and it turns out that
> because some of
> > the channels run diagonally and the bank is so high, my cable
> ties aren't
> > long enough. So, I'm wondering, will it really be that bad if the bones
> > aren't continuous? I tried tying two bones together, but they
> made a lump
> > that looked like it might be uncomfortable. Should I go and buy enough
> > ridgeline to fill in the long channels?
> >
> > Thanks!
> >
> > Tea Rose
>


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Date: Fri, 24 Mar 2006 09:02:54 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Dutch 1660s fur jacket, was Costumers in
	Edinburgh?
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The URL Nicole originally gave us is down below. See under "Dutch 1660s housewife"

Kate Bunting
Librarian and 17th century reenactor

>>> primevalooze@yahoo.com 23/03/2006 18:55 >>>
Is there a picture of this online?  I'd love to see
what it looks like.

Lynda

--- Nicole Kipar <marquesate@hotmail.com> wrote:

> I even wear my lovely jacket to work. ;-) It's
> velvet, lined in linen and 
> trimmed with rabbit fur, with silk ties.
> 
> Nicole
> 
> 
> --------------------
> "If you think education is expensive, try
> ignorance."
> 
> 
> 
> 
> 
> >From: Susan Data-Samtak <pasovasz@aol.com>
> >Reply-To: Historical Costume <h-costume@indra.com>
> >To: Historical Costume <h-costume@indra.com>
> >Subject: Re: [h-cost] Costumers in Edinburgh?
> >Date: Thu, 23 Mar 2006 12:43:44 -0500
> >
> >The one with the fur?  YES!!!!
> >
> >Susan
> >
> >"Creative Clutter is Better Than Idle Neatness"
> Carol H.
> >
> >
> >On Mar 23, 2006, at 11:51 AM, Kate M Bunting wrote:
> >
> >>I love the Dutch lady's jacket, Nicole. One of
> these days when I have a 
> >>bit of spare time I mean to make one of those for
> myself...
> >>
> >>Kate Bunting
> >>Librarian and 17th century reenactor
> >>
> >>>>>marquesate@hotmail.com 20/03/2006 23:32 >>>
> >>Thank you ever so much for your kind words,
> Bjarne, Saragrace and Jean. 
> >>:-)
> >>I do have a little bit to show, even though I
> didn't have much time for
> >>website updates. That was an understatement, I had
> no time. Here are some 
> >>of
> >>my latest costumes & evening outfits:
> >>
>
>>http://www.kipar.org/salacious-historian/sewingprojects.html 
> >>
> >>Nicole
> >>
> >>--------------------
> >>"If you think education is expensive, try
> ignorance."
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >>_______________________________________________
> >>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 
> 
>
_________________________________________________________________
> Are you using the latest version of MSN Messenger?
> Download MSN Messenger 
> 7.5 today! http://join.msn.com/messenger/overview 
> 
> _______________________________________________
> 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] Eyelet insertion trim
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In a message dated 3/24/2006 12:30:44 A.M. Eastern Standard Time,  
sylvia@ntw.net writes:

I am  looking for black eyelet insertion or dyeable white 
and can't seem to find  it anywhere.




That's a tough one!  Black eyelet of any kind seems to have gone  away.  I 
tried dyeing some off-white I had and got dark gray, I'm sure  because it was a 
polyester blend.  The good Swiss eyelets are 100% cotton,  but they won't be 
cheap!  Stores that cater to French heirloom sewing carry  them.  As they are 
so delicate, I'm not sure how well they would dye,  either.
 
Here is one site I found on a quick Google.  Haven't dealt with them,  as I 
have a couple of stores locally that carry these.
 
If this search fails, can you use something else?
 
Ann Wass
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From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Eyelet insertion trim
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This site claims to have all cotton trims, they're pricey.

http://www.baltazor.com/xmasemb.html

Katy

On 3/24/06, Sylvia Rognstad <sylvia@ntw.net> wrote:
> Does anyone have any good online trim resources besides Jay Trims and
> Cheaptrims?  I am looking for black eyelet insertion or dyeable white
> and can't seem to find it anywhere.
>
> Sylrog
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Subject: Re: [h-cost] Eyelet insertion trim
Date: Fri, 24 Mar 2006 09:04:20 -0500
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You will find cotton laces at Homesew.com. I have been using their notions
catalogue for years.  Great selections of trim and notions in small yardage
or whole bolts. (And their packets of 25 machine needles for less than $4 is
a must for anyone doing costume type sewing!)

Kathleen
----- Original Message ----- 
From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 24, 2006 8:22 AM
Subject: Re: [h-cost] Eyelet insertion trim


> This site claims to have all cotton trims, they're pricey.
>
> http://www.baltazor.com/xmasemb.html
>
> Katy
>
> On 3/24/06, Sylvia Rognstad <sylvia@ntw.net> wrote:
> > Does anyone have any good online trim resources besides Jay Trims and
> > Cheaptrims?  I am looking for black eyelet insertion or dyeable white
> > and can't seem to find it anywhere.
> >
> > Sylrog
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> --
> Katy Bishop, Vintage Victorian
> vintage@shore.net                www.VintageVictorian.com
>      Custom reproduction gowns of the Victorian Era.
>       Publisher of the Vintage Dress Series books.
>
> _______________________________________________
> 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] Cleaning fur
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<laughs> I wonder what she drugs or bribes them with? ;o)
--Sue

----- Original Message -----
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 23, 2006 8:58 PM
Subject: Re: [h-cost] Cleaning fur


> On Thursday 23 March 2006 9:45 pm, Sue Clemenger wrote:
> [snip]
> > Obligatory Costume Content: They're always willing to critique what I'm
> > making, but they are not the sort that would be at all tolerant of
having
> > new costumes made for them. ;o)
>
> Ah, yes, but clearly cats are of different opinions about whether they
will
> wear costume.  My cat refuses (albeit very politely) to wear anything
other
> than a collar, but Cynthia Virtue's cats cheerfully wear the medievaloid
> headdresses she has made for them.  :-)
>
> http://www.virtue.to/articles/images/cat_hat_s1.jpg
> http://www.virtue.to/articles/images/cat_hat_s2.jpg
> http://www.virtue.to/articles/images/cat_hat_a1.jpg
>
> --
> Cathy Raymond <cathy@thyrsus.com>


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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sue Clemenger
Sent: Friday, March 24, 2006 8:27 AM
To: Historical Costume
Subject: Re: [h-cost] Cleaning fur


<laughs> I wonder what she drugs or bribes them with? ;o)
--Sue



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I haven't ordered from these guys yet, but I'm planning to soon: http://www.sewbizfabrics.com/
 
They have a big selection of trim and lace and the prices are great. 
 
Tea Rose
 
===========================================================

Date: Thu, 23 Mar 2006 22:30:50 -0700
From: Sylvia Rognstad <sylvia@ntw.net>
Subject: [h-cost] Eyelet insertion trim

Does anyone have any good online trim resources besides Jay Trims and 
Cheaptrims?  I am looking for black eyelet insertion or dyeable white 
and can't seem to find it anywhere.

Sylrog
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I have white swiss insertions and edges that I am
willing to part with. I bought it wholesale (at a
discount at that) years ago from a Capitol Imports
distributor back when I was doing Vic and heirloom. I
know its 100% cotton so it'll take dye. Some are
identical to the ones on that link someone sent. Let
me know what you want and and how much of it you need
and I'll see if I have something suitable.

Kathy

> Does anyone have any good online trim resources
> besides Jay Trims and 
> Cheaptrims?  I am looking for black eyelet insertion
> or dyeable white 
> and can't seem to find it anywhere.

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Eyelet insertion trim
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I've ben thinking of looking into Capitol Imports.  How are they to
deal with?  I have a big project coming up that will require lots of
Val lace trim.

Katy

On 3/24/06, Kathy Page <caitlin_oduibhir@yahoo.ca> wrote:
> I have white swiss insertions and edges that I am
> willing to part with. I bought it wholesale (at a
> discount at that) years ago from a Capitol Imports
> distributor back when I was doing Vic and heirloom. I
> know its 100% cotton so it'll take dye. Some are
> identical to the ones on that link someone sent. Let
> me know what you want and and how much of it you need
> and I'll see if I have something suitable.
>
> Kathy
>
> > Does anyone have any good online trim resources
> > besides Jay Trims and
> > Cheaptrims?  I am looking for black eyelet insertion
> > or dyeable white
> > and can't seem to find it anywhere.
>
> Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert
>
> It's never too late to be who you might have been.
> -George Eliot
> For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
> -Ivan Panin
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] adding sleave frills
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Hi,
When adding 2 frills to an 18th century outfit, would you not gather each 
frill up separately, and then attach them on top of eachother?
If i gather both on the same time, they make the same folds, wich i dont 
think is right?

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>
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Subject: [h-cost] Re: Eyelet insertion trim
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This was years ago, and I dealt with a Canadian
distributor, which she was ahem... difficult, to say
the least to deal with.  I gave her the name "The
Dragon Lady" for very good reason. She has since
passed away and now Canada has no distributor, that I
am currently aware of.
I have no idea what Capitol is like directly though. 
I have a bunch of Val kicking around as well not
earmarked for a project. If I have enough for your
project, or at least some of it to get you started,
let me know and we'll work something out. I'm only
looking to get my costs out of this stuff, so I'm not
planning on charging a fortune. I only keep the stuff
I might make an outrageously fancy heirloom dress for
my daughter out of. I largely don't do Vic anymore,
swiss and val laces look wrong on Ren kits.

Kathy

> I've ben thinking of looking into Capitol Imports. 
> How are they to
> deal with?  I have a big project coming up that will
> require lots of
> Val lace trim.

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Date: Thu, 23 Mar 2006 18:56:51 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tudor costumes for "dummies"? Help for a theatrical group
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Nicole,

That's setting yourself a challenge!  But I have to say, they're a lot 
better than the last time I went to Linlithgow Palace.

I think you may be able to do a lot with what they have, by tightening 
up the tailoring and getting them into some proper underpinnings, or at 
least stiffening the garments.  There's a lot of reasonable stuff there, 
especially the men, they just look too ... comfortable! (I don't mean 
that period clothing should be uncomfortable, but they look as if they 
could slump on the sofa in these costumes - tracksuit Tudor!)

Jean



Nicole Kipar <marquesate@hotmail.com> wrote
>Right, my question/dilemma is this:
>
>There is a very nice theatrical "amateur dramatics" group in my new 
>Scottish hometown near Edinburgh, called the Linithgow Players. In the 
>summer months they do plays dressed in Tudor costume at Linlithgow 
>Palace,  the birthplace of Mary, Queen of Scots. They set place at the 
>Court of James V and act out scenes with Mary, all for Historic 
>Scotland (very similar to the National Trust or English Heritage). 
>Anywya, that said, the costumes are.. ermm... uhm... not so very good, 
>to be kind.
>
>I offered, because I just moved here on my own three weeks ago (my 
>partner's still serving and staioned 500 miles away *sniff*) and would 
>like to get stuck in with costumes and people and to have something 
>nice to do, to help with their costumes. That's all very well, but, 
>while I know a hellofa lot about clothing 1660 - 1715 I know next to 
>nothing about Tudor costumes. HELP! I am ordering Ninya's book, but as 
>Teddy said rightly, this is a theatrical group, we don't need to nor 
>want to make it authentic (they wouldn't even have the budget for that) 
>but to make it look GOOD and make it look better than it is now. Bless 
>them, some costumes are quite nice, but others, I think, we could 
>definitely do something about that and I would love to help and get the 
>needle going (and spend some time in the pub with company ;-) This is 
>their photo page:
>
>http://www.linlithgowplayers.org.uk/LPsite/PhotosRe-enactments.htm
>
>Don't let yourself be fooled by the "reenactment" bit, I don't think 
>they got the terminology quite right. It's definitely acting, not 
>re-enacting and we would see it. :-)
>
>Anyway, I don't know where to start, I feel lost in a jungle of Too 
>Much Information. Can anyone, please pleae please point me into the 
>right direction of where to start getting a really good feel for Tudor 
>period costumes and, most importantly, which patterns could be adapted 
>(I have Margo Anderson's Lady's wardrobe and Man's wardrobe) and if I 
>can even use some commercial big companies patterns, because those are 
>usually quite easy. Any and all help appreciated, I'd love it if I 
>could help them get the look a bit more right and at the same time do 
>it on a tiny (!!!) budget and a shoestring with only four hands to help 
>(another lady's and mine - and I'm actually overworked at my new work 
>anyway thus haven't got 'that' much time).
>
>Thanks ever so much in advance, I really am drowning in websites, 
>books, info, and just don't know where to start and where to go to for 
>a theatrical good looking budget version (it has to be court costume) 
>of Tudor costume.
>
>Nicole
>
>--------------------
>"If you think education is expensive, try ignorance."
>
>_________________________________________________________________
>Be the first to hear what's new at MSN - sign up to our free 
>newsletters! http://www.msn.co.uk/newsletters
>
>_______________________________________________
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-- 
Jean Waddie
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Subject: Re: [h-cost] adding sleave frills
Date: Fri, 24 Mar 2006 15:14:14 -0500
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I like the lay better if the ruffles are gathered and set separately..
Otherwise, the fold you describe appears more as a time saver lacking in
grace.
Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Friday, March 24, 2006 2:47 PM
Subject: [h-cost] adding sleave frills


> Hi,
> When adding 2 frills to an 18th century outfit, would you not gather each
> frill up separately, and then attach them on top of eachother?
> If i gather both on the same time, they make the same folds, wich i dont
> think is right?
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
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References: <20060324195750.28269.qmail@web52104.mail.yahoo.com>
Subject: Re: [h-cost] Re: Eyelet insertion trim
Date: Fri, 24 Mar 2006 15:16:10 -0500
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In my experience, the product is super even if a little pricey for some of
the patterns.
I have had very good service.

Kathleen
----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: <h-costume@indra.com>
Sent: Friday, March 24, 2006 2:57 PM
Subject: [h-cost] Re: Eyelet insertion trim


> This was years ago, and I dealt with a Canadian
> distributor, which she was ahem... difficult, to say
> the least to deal with.  I gave her the name "The
> Dragon Lady" for very good reason. She has since
> passed away and now Canada has no distributor, that I
> am currently aware of.
> I have no idea what Capitol is like directly though.
> I have a bunch of Val kicking around as well not
> earmarked for a project. If I have enough for your
> project, or at least some of it to get you started,
> let me know and we'll work something out. I'm only
> looking to get my costs out of this stuff, so I'm not
> planning on charging a fortune. I only keep the stuff
> I might make an outrageously fancy heirloom dress for
> my daughter out of. I largely don't do Vic anymore,
> swiss and val laces look wrong on Ren kits.
>
> Kathy
>
> > I've ben thinking of looking into Capitol Imports.
> > How are they to
> > deal with?  I have a big project coming up that will
> > require lots of
> > Val lace trim.
>
> Ermine, a lion rampant tail nowed gules charged on the shoulder with a
rose Or barbed, seeded, slipped and leaved vert
>
> It's never too late to be who you might have been.
> -George Eliot
> For every beauty there is an eye somewhere to see it. For every truth
there is an ear somewhere to hear it. For every love there is a heart
somewhere to receive it.
> -Ivan Panin
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
> _______________________________________________
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> h-costume@mail.indra.com
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>

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From: Lavolta Press <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Eyelet insertion trim
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There's enough vintage eyelet and other laces on eBay to sink a ship. 
Try the categories + subcategories

Collectibles/Linens Fabric Textiles/Lace and Doilies

and

Antiques/Texiles Linens/Lace Crochet Doilies

Not narrow, and not exactly eyelet, but the eBay seller China-USA sells 
great hand-embroidered tablecloths I use for fabric.  And right now they 
have several lots of hand-embroidered fabric up at $25 for 90 inches of 
56-inch hand-embroidered cotton material.  Their merchandise really is 
hand embroidered, crocheted, tatted, etc., with very good workmanship, 
and it washer dyes very well with Procion dyes.

Fran
Lavolta Press
http://www.lavoltapress.com



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Subject: [h-cost] Sourcing bizarre fabric..
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Hello

I wimped out on a costume today because I just didn't
have the right fabric to make the 'underskirt' or
sleeve lining of this dress (the green one Eowyn wears
in LoTR: Two Towers)
http://www.costumersguide.com/eowyn_green.shtml

I've tried as many fabric places as I know (and
contacted quite a few in London too) but no luck so
far. Has anyone seen anything like the green leaf
fabric which is overdyed and crinkly? I just couldn't
bring myself to use the too dull but vaguely leaf-like
furniture fabric I found...

Thank you once again,
Katherine

"A positive attitude may not solve all of your problems, but it will 
annoy enough people to make it worth the effort" - Herm Albright


	
	
		
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From h-costume-bounces@indra.com  Fri Mar 24 15:46:07 2006
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From: "Guenievre de Monmarche" <guenievre@erminespot.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Sourcing bizarre fabric..
Date: Fri, 24 Mar 2006 15:43:42 -0500
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That looks painted, you might could get something almost right but without
the leaves and then have fun with fabric paint and a leaf-stamp...

Guenièvre  

  > -----Original Message-----
  > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
  > On Behalf Of katherine sanders
  > Sent: Friday, March 24, 2006 3:30 PM
  > To: h-costume@mail.indra.com
  > Subject: [h-cost] Sourcing bizarre fabric..
  > 
  > Hello
  > 
  > I wimped out on a costume today because I just didn't
  > have the right fabric to make the 'underskirt' or
  > sleeve lining of this dress (the green one Eowyn wears
  > in LoTR: Two Towers)
  > http://www.costumersguide.com/eowyn_green.shtml
  > 
  > I've tried as many fabric places as I know (and
  > contacted quite a few in London too) but no luck so
  > far. Has anyone seen anything like the green leaf
  > fabric which is overdyed and crinkly? I just couldn't
  > bring myself to use the too dull but vaguely leaf-like
  > furniture fabric I found...
  > 
  > Thank you once again,
  > Katherine
  > 
  > "A positive attitude may not solve all of your problems, but it will
  > annoy enough people to make it worth the effort" - Herm Albright
  > 
  


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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	<000901c64f7f$880c82c0$8e5083d1@rmitchellras>
Subject: Re: [h-cost] adding sleave frills
Date: Fri, 24 Mar 2006 23:12:12 +0100
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Hi Kathleen,
Yep, thanks. Do you know if this is done in the period as well?
Wished i had something to examine from the period.

Bjarne

----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 24, 2006 9:14 PM
Subject: Re: [h-cost] adding sleave frills


>I like the lay better if the ruffles are gathered and set separately..
> Otherwise, the fold you describe appears more as a time saver lacking in
> grace.
> Kathleen
> ----- Original Message ----- 
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> To: <h-costume@indra.com>
> Sent: Friday, March 24, 2006 2:47 PM
> Subject: [h-cost] adding sleave frills
>
>
>> Hi,
>> When adding 2 frills to an 18th century outfit, would you not gather each
>> frill up separately, and then attach them on top of eachother?
>> If i gather both on the same time, they make the same folds, wich i dont
>> think is right?
>>
>> Bjarne
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
> _______________________________________________
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> 


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Subject: Re: [h-cost] Sourcing bizarre fabric..
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Katherine,
I cant help you with the fabric, but my god this is a beautifull gown. I 
didnt see this movie, but i guess i have to buy the DVD. Wonderfull trims 
you have found for the collar piece.

Bjarne
----- Original Message ----- 
From: "katherine sanders" <katherinejsanders@yahoo.co.uk>
To: <h-costume@mail.indra.com>
Sent: Friday, March 24, 2006 9:30 PM
Subject: [h-cost] Sourcing bizarre fabric..


> Hello
>
> I wimped out on a costume today because I just didn't
> have the right fabric to make the 'underskirt' or
> sleeve lining of this dress (the green one Eowyn wears
> in LoTR: Two Towers)
> http://www.costumersguide.com/eowyn_green.shtml
>
> I've tried as many fabric places as I know (and
> contacted quite a few in London too) but no luck so
> far. Has anyone seen anything like the green leaf
> fabric which is overdyed and crinkly? I just couldn't
> bring myself to use the too dull but vaguely leaf-like
> furniture fabric I found...
>
> Thank you once again,
> Katherine
>
> "A positive attitude may not solve all of your problems, but it will
> annoy enough people to make it worth the effort" - Herm Albright
>
>
>
>
>
> ___________________________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] waistcoat front closing
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Hi,
Another list, has given an url to a picture of an outfit from Jefferson in 
Paris, and here is the picture:
http://photobucket.com/albums/f344/fashioninfilm/?action=view&current=100_9322.jpg

How is this closing made? To me it must be made with a larger piece ajusted 
for the buttons. Isnt this wrong?
Should it not be that when closed with the buttons, the embroidery overlaps 
eachother?
I am confused!

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Date: Fri, 24 Mar 2006 18:24:49 -0500
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Costume List <h-costume@indra.com>
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Subject: [h-cost] Another Pregnant Elizabethan
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Found another one

http://www.weissgallery.com/detail.asp?id=26&category=current

I stumbled onto this site while I was looking for something by Robert
Peake.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] waistcoat front closing
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At 23:00 24/03/2006, you wrote:
>Hi,
>Another list, has given an url to a picture of an outfit from 
>Jefferson in Paris, and here is the picture:
>http://photobucket.com/albums/f344/fashioninfilm/?action=view&current=100_9322.jpg
>
>How is this closing made? To me it must be made with a larger piece 
>ajusted for the buttons. Isnt this wrong?
>Should it not be that when closed with the buttons, the embroidery 
>overlaps eachother?
>I am confused!
>
>Bjarne


Bjarne

I am not sure if I understand your problem, but this style of coat 
was never intended to close using the buttons and buttonholes. It is 
quite likely in fact, that the buttonholes are not even slit open. On 
an original coat of this style there would be a couple of hooks and 
loops high on the chest, and the coat would meet when these were 
fastened, not overlap. Hope this helps you understand. The costumes 
for this film came from Cosprop, the best costume house in London, 
and they are well known for their collection of original garments 
which they use as patterns for new costumes.

http://www.cosprop.co.uk/

Suzi


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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] waistcoat front closing
Date: Fri, 24 Mar 2006 19:14:26 -0500
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Bjarne--
If you mean the closing on the waistcoat, yes, that's exactly what it  
looks like: the embroidery design is centered on the waistcoat, and the  
buttonholes are off-center; the fabric on the right-hand side of the  
waistcoat (the button side) continues beyond the embroidery. The  
buttons are sewn on this unembroidered part, which is invisible when  
the waistcoat is buttoned closed. So on the left side (the buttonhole  
side) the embroidery continues to the center edge and ends with that  
vertical line, but on the right side (the button side) the embroidery  
ends with a vertical line at center front, but the fabric continues  
beyond the center-front line, under the buttonholes. The button design  
is similar enough to the embroidery that the buttons almost disappear  
into the embroidered design. Very clever!
Does that make sense? I have no idea what was standard for the period,  
but it's certainly what I think I'm seeing in the picture.
--Ruth Anne Baumgartner
gypsy scholar and amateur costumer

On Mar 24, 2006, at 6:00 PM, Bjarne og Leif Drews wrote:

> Hi,
> Another list, has given an url to a picture of an outfit from  
> Jefferson in Paris, and here is the picture:
> http://photobucket.com/albums/f344/fashioninfilm/? 
> action=view&current=100_9322.jpg
>
> How is this closing made? To me it must be made with a larger piece  
> ajusted for the buttons. Isnt this wrong?
> Should it not be that when closed with the buttons, the embroidery  
> overlaps eachother?
> I am confused!
>
> 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] adding sleave frills
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In a message dated 3/24/2006 2:49:14 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

When  adding 2 frills to an 18th century outfit, would you not gather each 
frill  up separately, and then attach them on top of eachother?
If i gather both  on the same time, they make the same folds, wich i dont 
think is  right?



*******************
 
Oh yes! One can be sewn to the bottom of the sleeve and the other slightly  
above the bottom of the sleeve to reduce the bulk where they are gathered as  
well.
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Subject: Re: [h-cost] waistcoat front closing
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In a message dated 3/24/2006 6:02:33 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

How is  this closing made?


It would appear that the edges of the embroidery are at true CF, and an  
underlap has either been added or cut into the right side. The buttonholes on  the 
left come very close to the finished, embroidered edge, and the buttons are  
sewn to the underlap [which can be narrow]. This places the buttons just off 
of  CF.
 
This added underlap is a good method for a curved CF opening [of  course it 
works with a straight one too...but there the underlap can just be cut  into 
the fabric]. You see it in 19th century women's bodices a lot, when they  curve 
over the bust and into the waist.
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Subject: Re: [h-cost] waistcoat front closing
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In a message dated 3/24/2006 6:33:38 P.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

am not  sure if I understand your problem,
*****************
 
I thought he meant the waistcoat!
 

but this  style of coat 
was never intended to close using the buttons and  buttonholes. It is 
quite likely in fact, that the buttonholes are not even  slit open. On 
an original coat of this style there would be a couple of  hooks and 
loops high on the chest, and the coat would meet when these were  
fastened, not overlap.
 
A great tip I learned on "Last of the Mohicans" was, when you have a curved  
front that doesn't close, like in "Mohicans" which is 1750s, or one that is 
more  curved and butts up together at CF, like you  find later in the  century...
 
In the seam allowance just shy of where it is to be finished, run a couple  
of rows of gathering threads along the length [3"-5"] of the  outermost part of 
the curve and ease it up ever so slightly. Stabilize the  eased part by 
basting it to a 1/4" piece of twill tape right where the finished  edge will be. 
Then finish it up as you ordinarily would....easing the lining  too.
 
If you do it right, you cannot see any of the ease and the curved edge will  
lay flat and not stick out away from the chest any.
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] waistcoat front closing
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>
>suzi@suziclarke.co.uk writes:
>
>am not  sure if I understand your problem,
>*****************
>
>I thought he meant the waistcoat!


That will teach me to read the headers as well as the questions!!

Suzi

>
>
>but this  style of coat
>was never intended to close using the buttons and  buttonholes. It is
>quite likely in fact, that the buttonholes are not even  slit open. On
>an original coat of this style there would be a couple of  hooks and
>loops high on the chest, and the coat would meet when these were
>fastened, not overlap.
>
>A great tip I learned on "Last of the Mohicans" was, when you have a curved
>front that doesn't close, like in "Mohicans" which is 1750s, or one that is
>more  curved and butts up together at CF, like you  find later in 
>the  century...
>
>In the seam allowance just shy of where it is to be finished, run a couple
>of rows of gathering threads along the length [3"-5"] of 
>the  outermost part of
>the curve and ease it up ever so slightly. Stabilize the  eased part by
>basting it to a 1/4" piece of twill tape right where the 
>finished  edge will be.
>Then finish it up as you ordinarily would....easing the lining  too.
>
>If you do it right, you cannot see any of the ease and the curved edge will
>lay flat and not stick out away from the chest any.
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


_______________________________________________
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Subject: [h-cost] 18th century sleeve ruffles
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Hi,
When adding 2 frills to an 18th century outfit, would you not gather each
frill up separately, and then attach them on top of eachother?
If i gather both on the same time, they make the same folds, wich i dont
think is right?

Bjarne



Bjarne
I've been studying some spectacular  18th century gowns at the Costume
Institute this past year.  I've not seen any that had multiple sleeve
ruffles gathered as one.  Sometimes they're mounted right on top of each
other and sometimes there's space between them.  Often they start above the
hem of the sleeve, but I've also seen the bottom (longest) ruffle whipped to
the sleeve edge.  A very nice treatment is to have a header on the top
ruffle that's stitched down along its upper edge as well, forming a band of
trim.

The shape of the two or three ruffles on a sleeve are not the same.  I'm
sure you've looked at Janet Arnold's examples. What's amazing to me is the
really wham-bam construction on the inside of the garments.


Martha






























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From h-costume-bounces@indra.com  Sat Mar 25 02:33:32 2006
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Sourcing bizarre fabric..
Date: Fri, 24 Mar 2006 23:33:23 -0800
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I once found some very like that at a second hand store---it was curtains.
Try a sheer curtain fabric, maybe lined with some colored muslin/silk.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of katherine sanders
Sent: Friday, March 24, 2006 12:30 PM
To: h-costume@mail.indra.com
Subject: [h-cost] Sourcing bizarre fabric..


Hello

I wimped out on a costume today because I just didn't
have the right fabric to make the 'underskirt' or
sleeve lining of this dress (the green one Eowyn wears
in LoTR: Two Towers) http://www.costumersguide.com/eowyn_green.shtml

I've tried as many fabric places as I know (and
contacted quite a few in London too) but no luck so
far. Has anyone seen anything like the green leaf
fabric which is overdyed and crinkly? I just couldn't
bring myself to use the too dull but vaguely leaf-like furniture fabric I
found...

Thank you once again,
Katherine

"A positive attitude may not solve all of your problems, but it will 
annoy enough people to make it worth the effort" - Herm Albright


	
	
		
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] waistcoat front closing
Date: Fri, 24 Mar 2006 23:36:39 -0800
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I don't think this is meant to close, it just looks as if it could. Modern
suits have non-practical buttons on the sleeves, a holdover from when they
really would have buttoned.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Friday, March 24, 2006 3:01 PM
To: h-costume@indra.com
Subject: [h-cost] waistcoat front closing


Hi,
Another list, has given an url to a picture of an outfit from Jefferson in 
Paris, and here is the picture:
http://photobucket.com/albums/f344/fashioninfilm/?action=view&current=100_93
22.jpg

How is this closing made? To me it must be made with a larger piece ajusted 
for the buttons. Isnt this wrong?
Should it not be that when closed with the buttons, the embroidery overlaps 
eachother?
I am confused!

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: Re: [h-cost] waistcoat front closing
Date: Sat, 25 Mar 2006 11:18:02 +0100
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Hi i ment the waistcoat, not the coat.
It seems that the left side where the buttonholes are, was made larger 
besides the embroidery, to have the embroidery edge to edge when buttoned!
This they didnt do back in 18th century.

Bjarne

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 25, 2006 12:32 AM
Subject: Re: [h-cost] waistcoat front closing


> At 23:00 24/03/2006, you wrote:
>>Hi,
>>Another list, has given an url to a picture of an outfit from Jefferson in 
>>Paris, and here is the picture:
>>http://photobucket.com/albums/f344/fashioninfilm/?action=view&current=100_9322.jpg
>>
>>How is this closing made? To me it must be made with a larger piece 
>>ajusted for the buttons. Isnt this wrong?
>>Should it not be that when closed with the buttons, the embroidery 
>>overlaps eachother?
>>I am confused!
>>
>>Bjarne
>
>
> Bjarne
>
> I am not sure if I understand your problem, but this style of coat was 
> never intended to close using the buttons and buttonholes. It is quite 
> likely in fact, that the buttonholes are not even slit open. On an 
> original coat of this style there would be a couple of hooks and loops 
> high on the chest, and the coat would meet when these were fastened, not 
> overlap. Hope this helps you understand. The costumes for this film came 
> from Cosprop, the best costume house in London, and they are well known 
> for their collection of original garments which they use as patterns for 
> new costumes.
>
> http://www.cosprop.co.uk/
>
> Suzi
>
>
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> h-costume@mail.indra.com
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> 


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In a message dated 3/25/2006 5:18:52 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

This  they didnt do back in 18th century.




Are you sure?  Remember that these waistcoats were usually embroidered  flat, 
and then cut out and made up, so there could have been some variation in  how 
it was done.  I admit, it seems I usually don't see it that way, but  rather 
with the embroidery lapped and therefore "off center," which looks  strange to 
modern eyes.  So you may be right that this is a modern  adjustment for 
modern esthetics.
 
And, even though it didn't answer Bjarne's question, I was glad to have the  
information about easing the curved front edge of the coat.  I have no  
immediate plans to make an 18th century coat but, if I ever do, I'll remember  that!
 
Ann Wass 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] waistcoat front closing
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Hi,
Thanks for your replyes regarding front closing of waistcoats. All the 
waistcoats i have seen, wich are quite a few, has the buttonholes made 
directly in the embroidery, this is why i didnt understood this Jefferson 
waistcoat.
I would (believe me) have loved to make them this way, to protekt the 
embroidery and to reveal all of it, but it is not period to do it!

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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Subject: RE: [h-cost] waistcoat front closing
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Could it fasten in back? I don't know if they did this in the 18th century,
but we do it for onstage all the time. :)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Saturday, March 25, 2006 2:18 AM
To: Historical Costume
Subject: Re: [h-cost] waistcoat front closing


Hi i ment the waistcoat, not the coat.
It seems that the left side where the buttonholes are, was made larger 
besides the embroidery, to have the embroidery edge to edge when buttoned!
This they didnt do back in 18th century.

Bjarne

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, March 25, 2006 12:32 AM
Subject: Re: [h-cost] waistcoat front closing


> At 23:00 24/03/2006, you wrote:
>>Hi,
>>Another list, has given an url to a picture of an outfit from 
>>Jefferson in
>>Paris, and here is the picture:
>>http://photobucket.com/albums/f344/fashioninfilm/?action=view&current=100_
9322.jpg
>>
>>How is this closing made? To me it must be made with a larger piece
>>ajusted for the buttons. Isnt this wrong?
>>Should it not be that when closed with the buttons, the embroidery 
>>overlaps eachother?
>>I am confused!
>>
>>Bjarne
>
>
> Bjarne
>
> I am not sure if I understand your problem, but this style of coat was
> never intended to close using the buttons and buttonholes. It is quite 
> likely in fact, that the buttonholes are not even slit open. On an 
> original coat of this style there would be a couple of hooks and loops 
> high on the chest, and the coat would meet when these were fastened, not 
> overlap. Hope this helps you understand. The costumes for this film came 
> from Cosprop, the best costume house in London, and they are well known 
> for their collection of original garments which they use as patterns for 
> new costumes.
>
> http://www.cosprop.co.uk/
>
> Suzi
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: [h-cost] swaddling bands
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Hi All--
I am looking for pictures of babies in swaddling bands. Does anyone have
Federigo Barocci  painting of "Prince Federigo of Urbino as a Baby" (also
known as "Prince Federigo of Urbino in his Cradle". It was painted circa
1605 and is supposed to be in the Pitti Palace in Florence.

Thanks--

Catriona MacDuff

(Monica Spence)






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In a message dated 3/25/2006 2:36:29 A.M. Eastern Standard Time,  
sharon@collierfam.com writes:

http://photobucket.com/albums/f344/fashioninfilm/?action=view&current=100_93
22.jpg



Y'all did of course check out the other photos on the site, right?
 
The riding habit from "Jefferson in Paris" is there as well as some gowns  
from "Dangerous Liaisons"...without the wide panniers for some unknown reason!  
And some from "Titanic" [bleh!] and "Elizabeth" [yuck!].
 
Actually I haven't run thru all the pics yet, but even the bad costumes are  
fun to check out.
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In a message dated 3/25/2006 5:18:36 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

It seems  that the left side where the buttonholes are, was made larger 
besides the  embroidery, to have the embroidery edge to edge when buttoned!
This they  didnt do back in 18th century.




******************
 
Never say never, y'know....
 
 
But you can clearly see in the waistcoats in the Kyoto book the embroidery  
going under the left side as the fronts overlap.
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Date: Sat, 25 Mar 2006 10:18:30 -0500
From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] swaddling bands
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Dear Monica,

I have a copy of "I Principi Bambini" from the Palazzo Pitti gallery
of Costume, bought in 1986 in Florence.  It ahs several pictures of
babies in swaddling bands.

There is one "Federico Ubaldo della Rovere (1605-1623) Allessandro
Vitali.  Swaddlied in what looks like an embroidered or fancy woven
cloth.  It is a pic in black and white.  The baby is sideways, half
covered with a n embroidered? blanket

Katy

On 3/25/06, monica spence <monicaspence@optonline.net> wrote:
>
> Hi All--
> I am looking for pictures of babies in swaddling bands. Does anyone have
> Federigo Barocci  painting of "Prince Federigo of Urbino as a Baby" (also
> known as "Prince Federigo of Urbino in his Cradle". It was painted circa
> 1605 and is supposed to be in the Pitti Palace in Florence.
>
> Thanks--
>
> Catriona MacDuff
>
> (Monica Spence)
>
>
>
>
>
>
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> h-costume mailing list
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--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Bjarne:

I don't know if that was a correct construction or not, but wow!!! It is
gorgeous. And I love the giant jeweled buttons on the coat.

Gail Finke

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From: Cascio Michael <rosenau5@yahoo.com>
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Hello again,
   I'm looking at doing the "traditional" kimono with
the collar standing away from the back of the neck and
the collar crossing across the front of the chest.
   As far as I can tell this style originated about
300 years ago so that is the timeframe I am looking
at.  What research I've done indicates that there was
an underkimono or other undergarments to protect the
silk from body oils, hence my questions about
undergarments and linens.  I've also read that the obi
was a high court item and that kimono were layered up
to 12 at a time.  The combinations of colors in the
layers could have specific names too.
    My questions:  If I stiffen the collar to stand
away from the neck I can use hair canvas and just air
the outer layer?
    What would the undergarments have been like
approximately 300 years ago?  I'm used to thinking of
linen for the layer next to the skin so it can be
washed frequently.  Is this correct for Japanese
undergarments or would they have used cotton?
    The discussions on-line of modern kimono wear show
a fake undercollar and say that it is cooler.  I'm
assuming this is the modern equivalent of a partlet or
dickey and I would rather have the complete underlayer
so I don't have to wash the silk.
  Would the underkimono have had a stiff collar also
and if so would it still be a hair canvas?  I've not
had much success with hair canvas standing up to the
amount of washing a body linen would require.
    What was worn before the obi or instead of the obi
for a working or merchant class woman?
    I realize that kimono just means "something to
wear" and that each garment has a specific name but
when I say kimono most people get the general idea.
   I'm working on a middle class, middle age married
woman wardrobe and hope for some color and pattern
information too.  I know the sleeves also changed
based on the age and status of the wearer.
    Any help gladly appreciated.
                            Cassandra

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To: h-costume@indra.com
Date: Sat, 25 Mar 2006 11:29:23 -0600
Subject: Re: [h-cost] kimono questions again
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The best book on the history of kimono that I have found is-

Kimono: Fashioning Culture
Liza Crihfield Dalby
Avery Press, boulder colorado
ISBN 0-300-05639-7

It should answer all your questions and then some. Liza Dalby is the
American anthropologist who went thru formal geisha training and then
wrote a very detailed book about her expereince. 

Karen
Seamstrix






On Sat, 25 Mar 2006 09:21:11 -0800 (PST) Cascio Michael
<rosenau5@yahoo.com> writes:
> Hello again,
>    I'm looking at doing the "traditional" kimono with
> the collar standing away from the back of the neck and
> the collar crossing across the front of the chest.
>    As far as I can tell this style originated about
> 300 years ago so that is the timeframe I am looking
> at.  What research I've done indicates that there was
> an underkimono or other undergarments to protect the
> silk from body oils, hence my questions about
> undergarments and linens.  I've also read that the obi
> was a high court item and that kimono were layered up
> to 12 at a time.  The combinations of colors in the
> layers could have specific names too.
>     My questions:  If I stiffen the collar to stand
> away from the neck I can use hair canvas and just air
> the outer layer?
>     What would the undergarments have been like
> approximately 300 years ago?  I'm used to thinking of
> linen for the layer next to the skin so it can be
> washed frequently.  Is this correct for Japanese
> undergarments or would they have used cotton?
>     The discussions on-line of modern kimono wear show
> a fake undercollar and say that it is cooler.  I'm
> assuming this is the modern equivalent of a partlet or
> dickey and I would rather have the complete underlayer
> so I don't have to wash the silk.
>   Would the underkimono have had a stiff collar also
> and if so would it still be a hair canvas?  I've not
> had much success with hair canvas standing up to the
> amount of washing a body linen would require.
>     What was worn before the obi or instead of the obi
> for a working or merchant class woman?
>     I realize that kimono just means "something to
> wear" and that each garment has a specific name but
> when I say kimono most people get the general idea.
>    I'm working on a middle class, middle age married
> woman wardrobe and hope for some color and pattern
> rmation too.  I know the sleeves also changed
> based on the age and status of the wearer.
>     Any help gladly appreciated.
>                             Cassandra
> 
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around 
> http://mail.yahoo.com 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
_______________________________________________
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Date: Sat, 25 Mar 2006 22:24:08 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] swaddling bands
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Hi Katy--

Yes- That is the one. I have it in B&W, and was hoping for color... I don't
have a scanner and need it for a class...
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Katy Bishop
Sent: Saturday, March 25, 2006 10:19 AM
To: Historical Costume
Cc: Laurel; Sca-Laurels
Subject: Re: [h-cost] swaddling bands


Dear Monica,

I have a copy of "I Principi Bambini" from the Palazzo Pitti gallery
of Costume, bought in 1986 in Florence.  It ahs several pictures of
babies in swaddling bands.

There is one "Federico Ubaldo della Rovere (1605-1623) Allessandro
Vitali.  Swaddlied in what looks like an embroidered or fancy woven
cloth.  It is a pic in black and white.  The baby is sideways, half
covered with a n embroidered? blanket

Katy

On 3/25/06, monica spence <monicaspence@optonline.net> wrote:
>
> Hi All--
> I am looking for pictures of babies in swaddling bands. Does anyone have
> Federigo Barocci  painting of "Prince Federigo of Urbino as a Baby" (also
> known as "Prince Federigo of Urbino in his Cradle". It was painted circa
> 1605 and is supposed to be in the Pitti Palace in Florence.
>
> Thanks--
>
> Catriona MacDuff
>
> (Monica Spence)
>
>
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: Re: [h-cost] swaddling bands
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Quoting monica spence <monicaspence@optonline.net>:

>
> Hi All--
> I am looking for pictures of babies in swaddling bands. Does anyone have
> Federigo Barocci  painting of "Prince Federigo of Urbino as a Baby" (also
> known as "Prince Federigo of Urbino in his Cradle". It was painted circa
> 1605 and is supposed to be in the Pitti Palace in Florence.

I've got that one -- he's actually not swaddled.  I've another by Titi
that *does* show a baby swaddled.  I scanned both of these from
Thornton's Italian Renaissance Interiors.

http://www.goldsword.com/sfarmer/Paintings/barocci_UrbinoPrince-thorntonFig86-sm.jpg
http://www.goldsword.com/sfarmer/Paintings/titi_MediciPrince_thorntonFig87-sm.jpg

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] swaddling bands
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Thank you!! These are Perfect!!!
Monica Spence

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Susan B. Farmer
Sent: Saturday, March 25, 2006 10:53 PM
To: Historical Costume
Subject: Re: [h-cost] swaddling bands


Quoting monica spence <monicaspence@optonline.net>:

>
> Hi All--
> I am looking for pictures of babies in swaddling bands. Does anyone have
> Federigo Barocci  painting of "Prince Federigo of Urbino as a Baby" (also
> known as "Prince Federigo of Urbino in his Cradle". It was painted circa
> 1605 and is supposed to be in the Pitti Palace in Florence.

I've got that one -- he's actually not swaddled.  I've another by Titi
that *does* show a baby swaddled.  I scanned both of these from
Thornton's Italian Renaissance Interiors.

http://www.goldsword.com/sfarmer/Paintings/barocci_UrbinoPrince-thorntonFig8
6-sm.jpg
http://www.goldsword.com/sfarmer/Paintings/titi_MediciPrince_thorntonFig87-s
m.jpg

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


_______________________________________________
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Date: Sun, 26 Mar 2006 07:23:23 -0800 (PST)
From: Tania Gruning <tania_gr17@yahoo.com>
Subject: Re: [h-cost] Re: arsenic
To: Historical Costume <h-costume@indra.com>
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That is actually an old horsecopers trick.
  You give the horse a small amount of arsenic everyday untill you are ready to sell it. The ´horse will react to the arsenic by getting fat and the skin will get glossy, once the horse is sold the horse will lose weight and the arsenic stored in the fat will be released into the body causing death.
   
  Tania

Gail & Scott Finke <gailscott@eos.net> wrote:
  
It does stay in the body, that's how they test for it. I read a murder
mystery once based on the idea that if you feed someone small bits of
arsenic every day, they die if you withhold it! I don't know if that one is
true or not.

Gail Finke


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From: purplkat@optonline.net
Subject: Re: [h-cost] Princess Elizabeth sleeves
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Where are you located?? 

I have a copy of the book and might be willing to loan it out.

Katheryne
central-eastern NJ

----- Original Message -----
From: Becky <zeartiste@hotmail.com>

> I have ordered that book but it has not arrived yet. YET!!! I'm 
> still waiting and waiting. I wish it would get here so I can stay 
> working on the 
> costume. I've heard it was a good book and ordered it. If I'm 
> going to be creating costumes from this era, I' need all the documentation I 
> can get. I have both Arnold books but nothing on these sleeves. I borrowed 
> the QE1Unlocked. It was a great book for the details but nothing on 
> these sleeves. I'm researching it as best I can.
> Thanks for all the help form the list members.

> ----- Original Message ----- 
> From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
> > Try finding a copy of Jean Hunnisett's "Period Costume for Stage and
> > Screen-1500-1800" Inside is not only a scale pattern of the
> > oversleeve(cut on the bias), but two variations of the 
> undersleeve as well.  The so-called "Jane Grey" sleeve, based on a portrait of Jane
> > Grey, recently reidentified as Queen Catheryn Parr, is just about
> > identical to the "Princess Elizabeth" portrait.
> > Cindy Abel
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From h-costume-bounces@indra.com  Sun Mar 26 18:46:09 2006
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historic Costume" <h-costume@indra.com>
Date: Mon, 27 Mar 2006 10:46:17 +1100
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Subject: [h-cost] Neat corset lacing assistant
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I was looking at this website to find out the price of custom made corsets, 
as I'm getting tired of the number of times I've needed to alter the corset 
pattern I'm currently working on (the 1844 corset in Corsets and Crinolines, 
the bust is way too big & I'm on my third round of alterations to reduce it) 
I can't afford to buy a corset, but I came across this nifty little tool for 
preventing the corset laces from slipping when you're lacing it up 
http://romantasyweb.com/Merchant2/merchant.mv?Screen=PROD&Store_Code=R&Product_Code=lst&Category_Code=HA
They are selling it but it's really simple and could easily be reproduced at 
home even if you don't have much in the way of tools. All you'd really need 
is 2 pieces of dowel with holes drilled for the cords and the hook. If you 
know somebody who does woodwork you could probably make this out of their 
scraps.
This wouldn't work as well for pre 19th century corsets as they have a lace 
that runs from the top and ends at the waist so you don't have a loop, but 
it would certainly save some time (I knot the end of my laces to avoid 
slipping while I'm tightening but having the tension constantly held would 
save the time of making the knot and then undoing it to re-knot it at the 
new tension)
Elizabeth 

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From h-costume-bounces@indra.com  Sun Mar 26 23:13:59 2006
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Subject: [h-cost] Corset cutting suggestion
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Have you tried using your own basic block (sloper)as the basis for the 
corset and drawing in the corset lines as applicable - (yes, there is more 
to this process than just drawing in the lines, there is dart manipulation 
and taking off the required amounts to change the shape..etc) I can imagine 
you are frustrated trying to take a corset for an unknown shape & size and 
alter it for your own...I know I wouldn't be bothered... I'd rather 
manipulate my own shape to achieve the correct corset.

Just a suggestion

Sarah Paterson
----- Original Message ----- 

>I was looking at this website to find out the price of custom made corsets, 
>as I'm getting tired of the number of times I've needed to alter the corset 
>pattern I'm currently working on (the 1844 corset in Corsets and 
>Crinolines, the bust is way too big & I'm on my third round of alterations 
>to reduce it) I can't afford to buy a corset, > Elizabeth
> _______________________________________________
> 

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From: "Becky" <zeartiste@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Princess Elizabeth sleeves
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I live near Harrisburg, in Enola.
----- Original Message ----- 
From: <purplkat@optonline.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 26, 2006 12:08 PM
Subject: Re: [h-cost] Princess Elizabeth sleeves


> Where are you located??
>
> I have a copy of the book and might be willing to loan it out.
>
> Katheryne
> central-eastern NJ
>
> ----- Original Message -----
> From: Becky <zeartiste@hotmail.com>
>
>> I have ordered that book but it has not arrived yet. YET!!! I'm
>> still waiting and waiting. I wish it would get here so I can stay
>> working on the
>> costume. I've heard it was a good book and ordered it. If I'm
>> going to be creating costumes from this era, I' need all the 
>> documentation I
>> can get. I have both Arnold books but nothing on these sleeves. I 
>> borrowed
>> the QE1Unlocked. It was a great book for the details but nothing on
>> these sleeves. I'm researching it as best I can.
>> Thanks for all the help form the list members.
>
>> ----- Original Message ----- 
>> From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
>> > Try finding a copy of Jean Hunnisett's "Period Costume for Stage and
>> > Screen-1500-1800" Inside is not only a scale pattern of the
>> > oversleeve(cut on the bias), but two variations of the
>> undersleeve as well.  The so-called "Jane Grey" sleeve, based on a 
>> portrait of Jane
>> > Grey, recently reidentified as Queen Catheryn Parr, is just about
>> > identical to the "Princess Elizabeth" portrait.
>> > Cindy Abel
> _______________________________________________
> 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] Corset cutting suggestion
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New term for me... what's a sloper?
----- Original Message ----- 
From: "SPaterson" <sjpaterson@tru.eastlink.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, March 26, 2006 7:12 PM
Subject: [h-cost] Corset cutting suggestion


> Have you tried using your own basic block (sloper)as the basis for the 
> corset and drawing in the corset lines as applicable - (yes, there is more 
> to this process than just drawing in the lines, there is dart manipulation 
> and taking off the required amounts to change the shape..etc) I can 
> imagine you are frustrated trying to take a corset for an unknown shape & 
> size and alter it for your own...I know I wouldn't be bothered... I'd 
> rather manipulate my own shape to achieve the correct corset.
>
> Just a suggestion
>
> Sarah Paterson
> ----- Original Message ----- 
>
>>I was looking at this website to find out the price of custom made 
>>corsets, as I'm getting tired of the number of times I've needed to alter 
>>the corset pattern I'm currently working on (the 1844 corset in Corsets 
>>and Crinolines, the bust is way too big & I'm on my third round of 
>>alterations to reduce it) I can't afford to buy a corset, > Elizabeth
>> _______________________________________________
>>
>
> _______________________________________________
> 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 Mar 27 00:58:43 2006
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Subject: [h-cost] Florida
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Wednesday, I am heading to Florida for two weeks.  We will be in the Bradenton/Sarasota area, south of the Tampa Bay.  My youngest sister is getting married.  This will also be a working vacation for me.  I am hoping to do some research about circus costumes at the Ringling Museum.  My Dad was in the Barnum & Bailey/Ringling Bros. Circus from the 1920s-early 1940s.  My oldest brother has a album of circus photos from the 1940s.  He is hoping to bring them with him to Florida.  If he does, he said I could scan them.  My oldest sister and brother, and their parents, traveled with the circus when they were little. 

We are also hoping to go to Ft. Lauderdale to see the King Tut exhibit.  Are there any other costume exhibits that I should see in this part of Florida?

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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Date: Mon, 27 Mar 2006 06:55:36 +0000
From: rwfranz <rwfranz@hotpop.com>
Subject: Re: [h-cost] Corset cutting suggestion
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A sloper is the basic pattern from which other patterns are designed. 
(http://www.sew-whats-new.com/sewinglessons/sloper.shtml) It's also 
sometimes called the basic body block.

A discussion of them can be found here - 
http://www.taunton.com/threads/pages/t00036.asp .

Slopers of various sorts can be used for a wide variety of clothing 
types. Certain corset patterns can be made using the standard two-dart 
sloper, which is probably why it was suggested. Darts would have to be 
split and pivoted, but that's not terribly difficult.

Some of the pattern companies make patterns for the "basic sloper", 
although they may not call them that. Those patterns typically include 
instructions for fitting the sloper properly. There's a lot of fitting 
and re-fitting involved.

If you've got a sewing group anywhere near you, Coni Almaden-Crawford 
gives lectures on how to make and use slopers; her schedule is posted 
here: http://www.fashionpatterns.com/schedule.html

Roger

Becky wrote:

> New term for me... what's a sloper?
> ----- Original Message ----- From: "SPaterson" 
> <sjpaterson@tru.eastlink.ca>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, March 26, 2006 7:12 PM
> Subject: [h-cost] Corset cutting suggestion
>
>
>> Have you tried using your own basic block (sloper)as the basis for 
>> the corset and drawing in the corset lines as applicable - (yes, 
>> there is more to this process than just drawing in the lines, there 
>> is dart manipulation and taking off the required amounts to change 
>> the shape..etc) I can imagine you are frustrated trying to take a 
>> corset for an unknown shape & size and alter it for your own...I know 
>> I wouldn't be bothered... I'd rather manipulate my own shape to 
>> achieve the correct corset.
>>
>> Just a suggestion
>>
>> Sarah Paterson
>> ----- Original Message -----
>>
>>> I was looking at this website to find out the price of custom made 
>>> corsets, as I'm getting tired of the number of times I've needed to 
>>> alter the corset pattern I'm currently working on (the 1844 corset 
>>> in Corsets and Crinolines, the bust is way too big & I'm on my third 
>>> round of alterations to reduce it) I can't afford to buy a corset, > 
>>> Elizabeth 
>>
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Subject: [h-cost] The Red Dutch coat Was: Dutch 1660s fur jacket
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I like the furry one, but also love the red (wool?) one?  Reminds me, 
from the front, of Breughel type jackets, except with a placket.  Do you 
have a picture of it without the 'kerchief?  (also, if you could point 
me to a painting?)

Thanks,

Sg

Glad to see you "back"!
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I agree, I keep mine in a round tin.  It must have enough airflow  that 
I do not get this smell.  I have recently been amazed at what a good 
airing will do for costumes.  I have been working in a very smoky 
environment, and a few days airing has pretty much done the trick...more 
tenacious smells seem to be rid easily of with some "febreeze."
stilskin@netspace.net.au wrote:

>Belive it or not, metal has a smell.
>Providing your supplier has not done something you are not aware of, this is 
>normal.
>
>Give it a rub with a soft cloth then let it air,
>
>
>-C.
>
>  
>

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Another Pregnant Elizabethan
References: <20060324182449.3i2s9r59kqyoscck@www.goldsword.com>
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Very nice!  Thank you.  I'd never seen that one!
Susan B. Farmer wrote:

>Found another one
>
>http://www.weissgallery.com/detail.asp?id=26&category=current
>
>  
>

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Subject: Re: [h-cost] Corset cutting suggestion
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I'd stay away from anything modern for any period corset.  You just 
won't get the shape you want.  As a starting place, look at Drea's well 
used corset generator.
http://costume.dm.net/custompat/    If you are new to this style, look 
carefully at the shapes in paintings for comparisons to later styles.  
Think "inverted cone."  Flat front, not a curve in sight!  Compare this 
to (some of)  the more rounded front of the German silhouette at the 
same time.  If you have Patterns Of Fashion, look at the Pfalzgrafin 
corset for comparison.  Her corset was not boned across the breasts.  
Makes a huge difference!

In the end a "sloper" also called a toile is exactly what you need, just 
a different starting point!  In the case of a corset toile, you need 
something a little heavier than calico/muslin to work with.

Sg

rwfranz wrote:

> A sloper is the basic pattern from which other patterns are designed. 
> (http://www.sew-whats-new.com/sewinglessons/sloper.shtml) It's also 
> sometimes called the basic body block.
>
> A


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Subject: [h-cost] Regency Help!
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Hello!
I am not really familiar with the Regency era; however I really liked the dress that Jayne (Rosamund Pike) wore in the opening scene of the latest version of Pride & Prejudice (with Keira Knightly) – she wears the same style dress a different points throughout the movie, one in pink and the other in blue. I have looked at the patterns sites that carry Regency patterns (Sense & Sensibility, etc.) but have been unable to locate anything like this. There is a dress with an overcoat (?) that has an under-the-bust piece to connect either side of the overcoat. While I have not seen the movie Sense & Sensibility with Kate Winslet as Marianne Dashwood, I have seen screen shots and she is wearing a similar style outfit, a peach & white gown on a picnic.
http://www.geocities.com/mm_regency1/ss_mpwd.html

Does anyone know what the overcoat is called and what type of dress the base dress is? 

Thanks!
Wendi


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Sourcing bizarre fabric..
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Katherine, have you tried any of the "fabric finder", or fabric sourcing 
sites?  I have had particular luck with this group 
http://www.fabrics.net/swatch/ , but also just happened to google on 
this site-I hadn't asked for green leaves, but look what came up!

http://www.prqc.com/fabric_finder.htm
Sg
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Date: Mon, 27 Mar 2006 16:29:13 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Regency Help!
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At 16:05 27/03/2006, you wrote:
>Hello!
>I am not really familiar with the Regency era; 
>however I really liked the dress that Jayne 
>(Rosamund Pike) wore in the opening scene of the 
>latest version of Pride & Prejudice (with Keira 
>Knightly) ­ she wears the same style dress a 
>different points throughout the movie, one in 
>pink and the other in blue. I have looked at the 
>patterns sites that carry Regency patterns 
>(Sense & Sensibility, etc.) but have been unable 
>to locate anything like this. There is a dress 
>with an overcoat (?) that has an under-the-bust 
>piece to connect either side of the overcoat. 
>While I have not seen the movie Sense & 
>Sensibility with Kate Winslet as Marianne 
>Dashwood, I have seen screen shots and she is 
>wearing a similar style outfit, a peach & white gown on a picnic.
>http://www.geocities.com/mm_regency1/ss_mpwd.html
>
>Does anyone know what the overcoat is called and 
>what type of dress the base dress is?


Patterns for the "overcoat" can be found in both 
"Cut of Women's Clothes" by Norah Waugh, and 
"Patterns of Fashion 1660-1860" by Janet Arnold. 
It is probable that you will find patterns for 
the dress in one of those books too, or "Period 
Costume for Stage and Screen 1800-1090" by Jean 
Hunnisett, as these were the principal books of 
patterns that the British costume houses used at 
the time this version was being made. The sheer 
dress is possibly being worn over a bodiced petticoat.

I have not seen the new P and P so cannot comment on that particular style.

Suzi 



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Subject: Re: [h-cost] Elizabethan doublets, hooks and eyes at waist
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Wish I could remember where I read this, but there was a "discourse" by 
someone (Samuel Pepy's perhaps?) on how, the tailors were in some kind 
of conspiracy (tongue in cheek) of switching from points to hook and 
eyes which didn't free men up from having to have some one dress them.

Sg

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From h-costume-bounces@indra.com  Mon Mar 27 10:43:54 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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	<6.2.3.4.0.20060327162327.01e10470@127.0.0.1>
Subject: Re: [h-cost] Regency Help!
Date: Mon, 27 Mar 2006 17:43:50 +0200
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Hi Suzi,
The pattern for this gown is in Norah Waughs Cut of Womens Clothes diagram 
XXXIV Open Gown c. 1795.
I made it many years ago from a mix of silk and wool in a petrol blue 
trimmed with grey ribbons. Inside the gown i had made a chemise de la 
reinne, or you could also use a petticoat and a large fichu.

Bjarne
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 27, 2006 5:29 PM
Subject: Re: [h-cost] Regency Help!


> At 16:05 27/03/2006, you wrote:
>>Hello!
>>I am not really familiar with the Regency era; however I really liked the 
>>dress that Jayne (Rosamund Pike) wore in the opening scene of the latest 
>>version of Pride & Prejudice (with Keira Knightly) ­ she wears the same 
>>style dress a different points throughout the movie, one in pink and the 
>>other in blue. I have looked at the patterns sites that carry Regency 
>>patterns (Sense & Sensibility, etc.) but have been unable to locate 
>>anything like this. There is a dress with an overcoat (?) that has an 
>>under-the-bust piece to connect either side of the overcoat. While I have 
>>not seen the movie Sense & Sensibility with Kate Winslet as Marianne 
>>Dashwood, I have seen screen shots and she is wearing a similar style 
>>outfit, a peach & white gown on a picnic.
>>http://www.geocities.com/mm_regency1/ss_mpwd.html
>>
>>Does anyone know what the overcoat is called and what type of dress the 
>>base dress is?
>
>
> Patterns for the "overcoat" can be found in both "Cut of Women's Clothes" 
> by Norah Waugh, and "Patterns of Fashion 1660-1860" by Janet Arnold. It is 
> probable that you will find patterns for the dress in one of those books 
> too, or "Period Costume for Stage and Screen 1800-1090" by Jean Hunnisett, 
> as these were the principal books of patterns that the British costume 
> houses used at the time this version was being made. The sheer dress is 
> possibly being worn over a bodiced petticoat.
>
> I have not seen the new P and P so cannot comment on that particular 
> style.
>
> Suzi
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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wendirae@bellsouth.net wrote:
> I am not really familiar with the Regency era; however I really liked the dress that Jayne (Rosamund Pike) wore in the opening scene of the latest version of Pride & Prejudice (with Keira Knightly) – she wears the same style dress a different points throughout the movie, one in pink and the other in blue. I have looked at the patterns sites that carry Regency patterns (Sense & Sensibility, etc.) but have been unable to locate anything like this. There is a dress with an overcoat (?) that has an under-the-bust piece to connect either side of the overcoat. While I have not seen the movie Sense & Sensibility with Kate Winslet as Marianne Dashwood, I have seen screen shots and she is wearing a similar style outfit, a peach & white gown on a picnic.
> http://www.geocities.com/mm_regency1/ss_mpwd.html
> 
> Does anyone know what the overcoat is called and what type of dress the base dress is? 
> 

Isn't this a marvelous style? The Sense and Sensibility versions are a 
bit toned down in fullness, but it was still nice that they included 
this style. I've seen it most often called a robe or open robe. It's a 
brief transition style from the late 18th century robe a l'anglaise 
where the lower part of the bodice is cut away. This gown, from the 
Victoria and Albert Museum, shows the transition. You can see the 
evolution: start with the earlier 18th waistline, then move the waist up 
and make the gown even more open at front, continue until waistline is 
very high, replace rich silk petticoat with full muslin 
underdress/chemise dress, and voila!
http://images.vam.ac.uk/images/photo/sch/20030207/high/1088-005.jpg

Here are several variations, all from the late 1790s:

Gold Stripe silk robe from Met Museum of Art (image: Columbia)
http://www.columbia.edu/itc/barnard/theater/kirkland/3136/Early_19th_Century_Gallery/pages/1795.5.htm
and another view:
http://www.metmuseum.org/toah/hd/dreh/ho_C.I.37.46.1.htm

Open robe, brown silk, Manchester City Gallery
http://www.manchestergalleries.org/costume/catalogue/Display.php?irn=13418&QueryPage=/costume/catalogue/index.php

Silk dress (rear view) Los Angeles City Museum
http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record&id=21549&type=101

and an Italian version in glazed linen, also from LACMA:
http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record&id=40930&type=101

First image at:
http://exposition2005.monsite.wanadoo.fr/page3.html

Long sleeved day dress version:
http://images.vam.ac.uk/images/photo/sch/20030207/high/1087-012.jpg

And another from MMOA:
http://www.metmuseum.org/toah/hd/eudr/hob_1998.222.1.htm

And this, worn as a wedding dress in the U.S., shows the pleating in the 
back:
http://www.mfa.org/collections/search_art.asp?recview=true&id=49614&coll_keywords=wedding%20dress&coll_package=0&coll_start=1

And a couple of fashion plates (two of them may be redrawings)
http://www.uvm.edu/~hag/regency/evening-plates/1790s-gown-gloves.jpg
http://www.uvm.edu/~hag/regency/evening-plates/1795-threegowns-columbia.jpg
http://www.uvm.edu/~hag/regency/evening-plates/1797-muslin-glove.jpg

Janet Arnold shows a similar gown in her Patterns of Fashion from this 
period.


- Hope
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In a message dated 3/27/2006 11:06:42 A.M. Eastern Standard Time,  
hope.greenberg@uvm.edu writes:

Here are  several variations, all from the late 1790s:



****************************
 
Which makes me wonder if it was considered woefully "old fashion"  
by...oh...say 1806.
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Subject: Re: [h-cost] Regency Help!
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In a message dated 3/27/2006 10:44:19 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

The  pattern for this gown is in Norah Waughs Cut of Womens Clothes diagram  
XXXIV Open Gown c. 1795.



Yes, and please note that, strictly speaking, this is not Regency  period. We 
already discussed on this list that, as Jane Austen first wrote  the book in 
the 1790s (although it was published later), evidently the designer  opted to 
costume it in this period.  While technically, the English Regency  was 
1811-1820, I think most of us who interpret this period think of the styles  being 
fairly similar from about 1800 on.  The 1790s was more a transition  period 
from 18th century to the full-blown Neo-classical styes.
 
Ann Wass
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Mon, 27 Mar 2006 20:31:44 +0200
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Hey,
What do you say, a 15 inch waist:
http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
I dont like it, its two bizarre.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/

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From: Kristin <kristinolivia@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] talk about tight lacing
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I've seen that before when looking up information on corsets.  It's
definitely along the lines of fetish.  I have to agree with you that it is
too bizarre.  I don't like it either, as it's too out of proportion.

Kristin


On 3/27/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> Hey,
> What do you say, a 15 inch waist:
> http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
> I dont like it, its two bizarre.
>
> 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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Date: Mon, 27 Mar 2006 19:50:14 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] talk about tight lacing
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At 19:31 27/03/2006, you wrote:
>Hey,
>What do you say, a 15 inch waist:
>http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
>I dont like it, its two bizarre.
>
>Bjarne
That is gross - she looks as though she's snap in half if you grabbed 
her by the waist! And the roll of fat at the top of the corset is not 
pretty either. I know I am one who shouldn't comment on other 
people's figure failings, but the corset is way too tight at the top, 
as well as everywhere else in my opinion.

Suzi 


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Date: Mon, 27 Mar 2006 12:57:42 -0600 (CST)
Subject: Re: [h-cost] talk about tight lacing
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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I concurr, way too bizarre. I looked into corseting but found rather
quickly that there are no groups out there for those just wanting to
know how to do it properly without all the fetish and what not
connected to it. I just wanted the facts and got yelled at when I
opposed one view. Way too strange for my tastes.

Chiara


On Mon, March 27, 2006 12:45 pm, Kristin said:
> I've seen that before when looking up information on corsets.  It's
> definitely along the lines of fetish.  I have to agree with you that
> it is
> too bizarre.  I don't like it either, as it's too out of proportion.
>
> Kristin
>
>
> On 3/27/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>>
>> Hey,
>> What do you say, a 15 inch waist:
>> http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
>> I dont like it, its two bizarre.
>>
>> 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
>


Franchesca Havas
----------------------------------------

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----- Original Message ----- 
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>

>I concurr, way too bizarre. I looked into corseting but found rather
> quickly that there are no groups out there for those just wanting to
> know how to do it properly without all the fetish and what not
> connected to it. 

Yes, there is:
http://groups.yahoo.com/group/Historical_Corsets/
I'm the list owner, and there's no fetish stuff allowed!

-E House
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Dang!  How'd I miss this?!  I'll be signing up.   I can only imagine 
what you all a have been talking about since 1991! 
Sg

E House wrote:

>
> Yes, there is:
> http://groups.yahoo.com/group/Historical_Corsets/
> I'm the list owner, and there's no fetish stuff allowed!
>
> -E House
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Date: Mon, 27 Mar 2006 13:36:02 -0600 (CST)
Subject: Re: [h-cost] talk about tight lacing
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Very cool!

I will check it out when I get home tonight. :)

Chiara

On Mon, March 27, 2006 1:04 pm, E House said:
> ----- Original Message -----
> From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
>
>>I concurr, way too bizarre. I looked into corseting but found
>> rather
>> quickly that there are no groups out there for those just wanting
>> to
>> know how to do it properly without all the fetish and what not
>> connected to it.
>
> Yes, there is:
> http://groups.yahoo.com/group/Historical_Corsets/
> I'm the list owner, and there's no fetish stuff allowed!
>
> -E House
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


Franchesca Havas
----------------------------------------

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From: "Nicole Kipar" <marquesate@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] The Red Dutch coat Was: Dutch 1660s fur jacket
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Uhm, SG, that isn't a coat nor jacket, is the reproduction (made by Harriet 
Waterhouse) of the 1660s pink silk stays with sleeves in the V&A. :-D

Nicole (steeped in Tudor and kind of lost)

--------------------
"If you think education is expensive, try ignorance."




>From: WickedFrau <wickedfrau@msn.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: [h-cost] The Red Dutch coat Was: Dutch 1660s fur jacket
>Date: Mon, 27 Mar 2006 07:19:53 -0700
>
>I like the furry one, but also love the red (wool?) one?  Reminds me, from 
>the front, of Breughel type jackets, except with a placket.  Do you have a 
>picture of it without the 'kerchief?  (also, if you could point me to a 
>painting?)
>
>Thanks,
>
>Sg
>
>Glad to see you "back"!
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From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
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I saw her in person at a dance once, it was grotesque.   Like a train
wreck, you looked but had to turn away but had to look again to make
sure you didn't imagine it.  She looked as if she would break in two. 
Her face did not look like one of a happy or healthy person.

Katy

On 3/27/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
> Hey,
> What do you say, a 15 inch waist:
> http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
> I dont like it, its two bizarre.
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
> _______________________________________________
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--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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From h-costume-bounces@indra.com  Mon Mar 27 15:55:33 2006
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Corset cutting suggestion
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>I'd stay away from anything modern for any period corset.  You just 
>won't get the shape you want.  As a starting place, look at Drea's 
>well used corset generator.
>http://costume.dm.net/custompat/

>If you are new to this style, look carefully at the shapes in 
>paintings for comparisons to later styles.
>Think "inverted cone."  Flat front, not a curve in sight!  Compare 
>this to (some of)  the more rounded front of the German silhouette 
>at the same time.  If you have Patterns Of Fashion, look at the 
>Pfalzgrafin corset for comparison.  Her corset was not boned across 
>the breasts.
>Makes a huge difference!
>
>In the end a "sloper" also called a toile is exactly what you need, 
>just a different starting point!  In the case of a corset toile, you 
>need something a little heavier than calico/muslin to work with.
>
>Sg
>
>rwfranz wrote:
>
>>A sloper is the basic pattern from which other patterns are 
>>designed. (http://www.sew-whats-new.com/sewinglessons/sloper.shtml) 
>>It's also sometimes called the basic body block.


I must say I tried Drea's corset generator on myself, being an 
English 24, American 26, and I could not get it to look anything like 
a corset. And I make corsets for my living! Perhaps you will have 
more luck - I hope so.

Suzi 


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Subject: Re: [h-cost] Regency Help!
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and an Italian version in glazed linen, also from LACMA:
http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record&id=40930&type=101

Regarding our discussion a couple weeks ago about a "greatcoat" dress, the museum curators have labeled this one a "greatcoat dress".  

Janet
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In a message dated 3/27/2006 4:12:27 P.M. Eastern Standard Time,  
bear_janet@msn.com writes:

and an  Italian version in glazed linen


I believe that is INDIAN fabric, made up in England.
 
Ann Wass
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Bjarne og Leif Drews wrote:

> Hey,
> What do you say, a 15 inch waist:
> http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
> I dont like it, its two bizarre.
> 

I don't think I'm getting the same link as everyone else. I'm looking at 
  Danish (?) news clips... news, sports, movie reviews, baby kangaroos 
at the zoo...



Dawn


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Subject: [h-cost] OT: other costuming groups
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Well, since we've had a ton of new members on the historical corsets group from this list in just the past few hours, I thought I'd quickly mention three of my other groups that might be of interest to the list:

http://groups.yahoo.com/group/The_Real_Regency/
Regency fashions, lifestyle, reenactment get-togethers--reasonably active

http://groups.yahoo.com/group/15thCenturyEurope/
Anything whatsoever related to the 15th century--needs new life

http://groups.yahoo.com/group/PreRaphaeliteGarb/
For when you need a break from authenticity--needs new life

-E House
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Hi Janet,
Thanks for that, its very interresting that she calls this a greatcoat, 
wished i could ask her why?

Bjarne

----- Original Message ----- 
From: "JAMES OGILVIE" <bear_janet@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, March 27, 2006 11:11 PM
Subject: Re: [h-cost] Regency Help!


and an Italian version in glazed linen, also from LACMA:
http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record&id=40930&type=101

Regarding our discussion a couple weeks ago about a "greatcoat" dress, the 
museum curators have labeled this one a "greatcoat dress".

Janet
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Hello Chiara

>I looked into corseting but found rather quickly
>that there are no groups out there for those just
>wanting to know how to do it properly without all
>the fetish and what not
connected to it. Chiara

may I suggest you check out the yahoo 'historic
corset' group? There are a few familiar 'faces' from
this and other lists and it is specifically aimed at
those of us only interested in the historic side of
things. I know /exactly/ what you mean about other
groups...

http://groups.yahoo.com/group/Historical_Corsets/?yguid=176556519

HTH

Katherine (who's guilty of not posting to the list
often enough... maybe tomorrow!)

"A positive attitude may not solve all of your problems, but it will 
annoy enough people to make it worth the effort" - Herm Albright


		
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Subject: [h-cost] new McCall's bonnet pattern
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while I was looking for high waisted bodices with darts, (as I'm running a 
class on removing the darts from commercial patterns for early 16th century 
Italian clothing) I found this new pattern 
http://www.mccallpattern.com/item/M5129.htm?tab=costumes&page=1 for couple 
of variations on the theme of mid 19th century bonnets. To me it looks like 
the top row styles with the full brim could work well for late 1840s to 
early 1850s but their cut away style looks all wrong, I think it's because 
it's just too big, as when they trimmed the brim back so it didn't act like 
blinkers on a horse the bonnet became much smaller and closer to the face, 
but instead of modifying the overall line of the bonnet McCall's has tried 
to make one pattern do double duty. Does anybody else have opinions on 
weather this could be adapted to a mid to late 1850s bonnet? As nobody seems 
to sell that style (even if I could afford a readymade bonnet) all I see on 
the web is 1860s spoon bonnets for the ACW crowd.
Elizabeth (who should be concentrating on SCA period clothing for an 
upcoming event over the Easter weekend rather than looking at 19th century 
stuff)
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost] talk about tight lacing
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Monday, March 27, 2006 1:31 PM
Subject: [h-cost] talk about tight lacing


> Hey,
> What do you say, a 15 inch waist:
> http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
> I dont like it, its two bizarre.
> 
> Bjarne

Just..umm..

ewwww

Dianne
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From: "Anne Moeller" <ladyanne@quik.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] talk about tight lacing
Date: Mon, 27 Mar 2006 21:30:46 -0500
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I agree,  this is gross.  I don't like to comment on other people's figure
failings either but something this bizarre invites comment.  I am sure she
must be used to stares and questions. The press did do a piece on her, after
all.

Anne


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Subject: RE: [h-cost] talk about tight lacing
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Also looks too painful!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Monday, March 27, 2006 10:32 AM
To: h-costume@indra.com
Subject: [h-cost] talk about tight lacing


Hey,
What do you say, a 15 inch waist:
http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
I dont like it, its two bizarre.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/

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Thank you!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of E House
Sent: Monday, March 27, 2006 1:49 PM
To: h-costume@indra.com
Subject: [h-cost] OT: other costuming groups


Well, since we've had a ton of new members on the historical corsets group
from this list in just the past few hours, I thought I'd quickly mention
three of my other groups that might be of interest to the list:

http://groups.yahoo.com/group/The_Real_Regency/
Regency fashions, lifestyle, reenactment get-togethers--reasonably active

http://groups.yahoo.com/group/15thCenturyEurope/
Anything whatsoever related to the 15th century--needs new life

http://groups.yahoo.com/group/PreRaphaeliteGarb/
For when you need a break from authenticity--needs new life

-E House
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Subject: Re: [h-cost] Corset cutting suggestion
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I'm  getting tired of the number of times I've needed to alter the corset  
>pattern I'm currently working on (the 1844 corset in Corsets and  
>Crinolines, the bust is way too big & I'm on my third round of  alterations 
>to reduce it)
 
************************
 
Look....you probably just need to step back a little....do something else  
for a bit... then come back to it. It's not that difficult. Just get the bust,  
waist, hips measurements right [use a bust front, from side to side across the 
 front, and an across back at bust level to adjust that area] and go from  
there. Try to keep the pattern pieces the same shape as the pattern. [you'll  
find with the corset you're working on the  bust gussets get much  smaller and 
the curve of the piece they set into gets shallower]
 
Here's a project for you! Buy a pattern from Past Patterns...their  1845-1860 
Corset...# 708 and make it up in your size. Just follow the  instructions. 
It's very close in many ways to the corset you're working on. It's  my favorite 
19th century corset! A beautiful shape. The original is lightly  boned, but I 
put a bone between every bone in the pattern. You'll love it!
 
Then, with that experience under your belt, you can go back and tackle the  
other corset.

 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] dye surprises
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Hi,
I am in the middle of dying silk chenille threads for the tangled garden 
jacket. I made all the reds yesterday, and they came out nice.
http://home0.inet.tele.dk/drewscph/jacket.html
Today i just dyed the greens. I could only find 3 greens, spring green, 
emerald green and olive green. So i mixed the collours a little. As i wanted 
to get a little warmer green, i added a little red, and to my surprise the 
silk chenille got very dark red! Even that i only added little red.
Strange things happens.
Anyway i made 16 bunches of lovely greens, but i cant fotograph them before 
they are dry.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/ 


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Subject: RE: [h-cost] Regency Help!
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An excellent source for the early 1790's fashions is Heideloff's
"Gallery of Fashion" published circa 1793-1802. From 1793-1800 is
available on microfilm as part of the "History of Women Card Catalog.
Many universities hold this.  There are some websites that have some of
the plates, some in the original color.  Yummy!  A few plates from the
first year were reproduced in Sitwell's "Gallery of Fashion" which was a
brief history of the journal and included some info and reproductions
from its successor and more famous "Ackermann's Repository"  Jane Austen
may have seen some of the plates. Very few survive as it was published
in possibly fewer than 1,000 per monthly issue. Each issue was
small--usually two plates per issue with detailed(for the
time)descriptions of the fashion or fashions in each plate. Apparently
subscribers shared the plates with friends who couldn't afford the steep
subsciption price. The plates were hand-colored with metals, jewelry,
etc, picked out in real gold and silver paint.

It was published in London. Would love to see Dover Books republish some
or all of the plates and have recommended this at the Dover website as
Austenites would find it of use, as well as a great source of"really
existing fashions"(as the original publication claimed)of the 1790's
which is greatly ignored by costume historians. It is an excellent
chronicle of a transitional time in fashion during revolutionary times
and deserves more study, I think.

Cindy Abel
 

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Subject: Re: [h-cost] talk about tight lacing
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youch!!

prolapses here they come.

ick - have a book that shows all the yucky stuff that can happen as a result 
of too tight lacing, and it's truly disgusting.

debs
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From: "Rachel Watcher" <rwatcher@gmail.com>
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Subject: [h-cost] Spanish California Women's Costume
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I am interested in finding information on Women's fashion from 1840 to 1850
Ranchero life prior to the  Gold Rush in 49.  Particularly the dress that
would be worn for fandangos for married women.

Anyone got info or urls?

Thanks
Rachael
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Corset cutting suggestion
Date: Tue, 28 Mar 2006 21:30:22 +1100
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----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, March 28, 2006 2:15 AM
Subject: Re: [h-cost] Corset cutting suggestion


>
> I'm  getting tired of the number of times I've needed to alter the corset
>>pattern I'm currently working on (the 1844 corset in Corsets and
>>Crinolines, the bust is way too big & I'm on my third round of 
>>alterations
>>to reduce it)
>
> ************************
>
> Look....you probably just need to step back a little....do something else
> for a bit... then come back to it. <snip>

that's exactly what I'm doing actually as I need more SCA garb for an event 
coming up over the Easter long weekend I'm making a boned Tudor kirtle and 
I'm doing a lot of hand finishing so I can enter it into a competition. 
After that I'll probably go back to my Victorian as I want to have the 
outfit that will go over it ready by July for a Dickensian Ball. I think 
that one last alteration should reduce the bust enough to fit, but it will 
involve unpicking a seam that I've already sewn several times. I may try 
another corset pattern later, but I've bought the boning cut to length for 
this pattern and it wouldn't work for a different pattern.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Wheeeeeee!!!! Happy dance!

It arrived today! My poor husband exercised the *greatest* restraint, and _didn't_ open the parcel before I got home from work, bless him. ( Mind you, he only got home about 1/2 an hour before me. ;-P ) It's GORGEOUS. I've had a skim through, now to go and have a closer look.

I just wanted to let people know - their copy is now obviously on the way to them!

Joannah 

~*~  Practice  random  acts  of kindness, and senseless acts of beauty. ~*~


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Subject: Re: [h-cost] dye surprises
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In a message dated 3/27/2006 11:02:31 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Even  that i only added little red.



Hmmmmm.....interesting it came out RED!
 
 
Usually when one mixes complimentary colors [Blue & orange,  violet & yellow, 
red & green] they "kill" each other and you get a  dull color. To brighten up 
a green, I'd add yellow.
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Subject: Re: [h-cost] dye surprises
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> Hmmmmm.....interesting it came out RED!
>
>

Dyes strike at different rates.  The conditions must have been right for the 
red to strike first and best, leaving no attachment sites for the other 
color.  At a different temp or pH (or water hardness, or any other variable) 
they might have struck at the same time and made a completely different 
effect.

Barjne: this probably means that you can use less dye than you have in the 
past. If dark red was the result of using less than normal, you can probably 
use less dye. This should result in less rinsing to remove excess dye.

If the correct amount of dye is used for the weight of goods, the water will 
be exhausted--- it will be clear or barely tinted at the end of the dye bath 
and little or no dye will rinse off the yarn/fabric.  This is only true if 
you are using non-union dye. (Union dyes are the kind that are supposed to 
dye "any" fiber content -- the dye not needed for whatever fiber you dye is 
not used from the dye bath and is washed away. Like Rit dye.)

I hope I'm remembering the right terms--it's been awhile.
Denise B
Iowa

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To: "Historic Costume List " <h-costume@indra.com>,
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Subject: [h-cost] More rhapsodising about the Tudor Tailor
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I've been having a closer read of the 'Tudor Tailor' ( who needs sleep? ) and I am seriously, seriously impressed. I think the book may well have set a new standard for publications of this genre. An excellent resource.

Now I want to do Tudor.......

Joannah
( suffering from multiple period disorder - Roman, ECW, Georgian/Rum Corp, ACW - now what ELSE can I do....? )

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

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From h-costume-bounces@indra.com  Tue Mar 28 10:48:06 2006
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Does anyone on this list know of any US sellers of this book? Or anyone
selling that accepts CC payment, not PayPal? It isn't listed on
Amazon.co.uk, yet!

Cindy Abel
Omaha NE 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Joannah Hansen
Sent: Tuesday, March 28, 2006 9:29 AM
To: Historic Costume List ; The Renaissance Tailor ; Authentic SCA 
Subject: [h-cost] More rhapsodising about the Tudor Tailor

I've been having a closer read of the 'Tudor Tailor' ( who needs sleep?
) and I am seriously, seriously impressed. I think the book may well
have set a new standard for publications of this genre. An excellent
resource.

Now I want to do Tudor.......

Joannah
( suffering from multiple period disorder - Roman, ECW, Georgian/Rum
Corp, ACW - now what ELSE can I do....? )

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

_____________________________________________________________
Sluggy.Net: The Sluggy Freelance Community!
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

_______________________________________________
h-costume mailing list
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To: <h-costume@indra.com>
Subject: RE: [h-cost] More rhapsodising about the Tudor Tailor
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Cindy,

If you contact Ninya and Jane you may be able to make arrangements to pay by CC. They do accept cheques, though. The link below tells you how to do so. There are also links on their website to contact them directly.

http://www.tudortailor.com/sales.htm

Joannah 

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- CynthiaAbel@creighton.edu wrote:

Does anyone on this list know of any US sellers of this book? Or anyone
selling that accepts CC payment, not PayPal? It isn't listed on
Amazon.co.uk, yet!

Cindy Abel
Omaha NE 



_____________________________________________________________
Sluggy.Net: The Sluggy Freelance Community!
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

From h-costume-bounces@indra.com  Tue Mar 28 11:37:39 2006
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Cindy,

If you contact Ninya and Jane you may be able to make arrangements to pay by CC. They do accept cheques, though. The link below tells you how to do so. There are also links on their website to contact them directly.

http://www.tudortailor.com/sales.htm

Joannah 

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- CynthiaAbel@creighton.edu wrote:

Does anyone on this list know of any US sellers of this book? Or anyone
selling that accepts CC payment, not PayPal? It isn't listed on
Amazon.co.uk, yet!

Cindy Abel
Omaha NE 



_____________________________________________________________
Sluggy.Net: The Sluggy Freelance Community!
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

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Cindy,

If you contact Ninya and Jane you may be able to make arrangements to pay by CC. They do accept cheques, though. The link below tells you how to do so. There are also links on their website to contact them directly.

http://www.tudortailor.com/sales.htm

Joannah 

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

--- CynthiaAbel@creighton.edu wrote:

Does anyone on this list know of any US sellers of this book? Or anyone
selling that accepts CC payment, not PayPal? It isn't listed on
Amazon.co.uk, yet!

Cindy Abel
Omaha NE 



_____________________________________________________________
Sluggy.Net: The Sluggy Freelance Community!
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

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Whoops! Sorry about the multiple posts of my reply to Cindy - I think the computer hiccupped. :-\

Joannah

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Subject: [h-cost] Striped petticoats in the late 17th/early 18th centuries?
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I wonder if anyone knows about any possible significance of wearing striped 
petticoats. Or even just simply of evidence, in whatever form.

I am surprised to see a striped petticoat (vertical) on a c. 1690s dummy. 
I'm just trying to make sense of it and possibly get a better dating as 
well.

Thanks!

Nicole

--------------------
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N Kipar wrote:

> I wonder if anyone knows about any possible significance of wearing 
> striped petticoats. Or even just simply of evidence, in whatever form.
> 
> I am surprised to see a striped petticoat (vertical) on a c. 1690s 
> dummy. I'm just trying to make sense of it and possibly get a better 
> dating as well.
> 


Do you have a picture you can point us to?



Dawn


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Subject: RE: [h-cost] More rhapsodising about the Tudor Tailor
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I was able to pay for my copy with a credit card rather than using 
PayPal directly through their web site.

Joan in Sacramento, CA, still waiting for my copy

At 08:37 AM 3/28/2006, you wrote:
>Cindy,
>
>If you contact Ninya and Jane you may be able to make arrangements 
>to pay by CC. They do accept cheques, though. The link below tells 
>you how to do so. There are also links on their website to contact 
>them directly.
>
>http://www.tudortailor.com/sales.htm
>
>Joannah
>
>~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~
>
>--- CynthiaAbel@creighton.edu wrote:
>
>Does anyone on this list know of any US sellers of this book? Or anyone
>selling that accepts CC payment, not PayPal? It isn't listed on
>Amazon.co.uk, yet!
>
>Cindy Abel
>Omaha NE

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Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th centuries?
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Dear Nicole,
One of my favourite fashion prints from J.D. de Saint- Jean woman walking 
with a light neckerchief on her head and a parasol, is a beautifull summer 
mantua made from striped fabric. The stripes are made in the vertical 
direction, but the bottom is horizontal. Made by ankles. My book doesnt give 
a year, but i would say late 1680ies- 90


Bjarne
----- Original Message ----- 
From: "N Kipar" <marquesate@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, March 28, 2006 6:44 PM
Subject: [h-cost] Striped petticoats in the late 17th/early 18th centuries?


>I wonder if anyone knows about any possible significance of wearing striped 
>petticoats. Or even just simply of evidence, in whatever form.
>
> I am surprised to see a striped petticoat (vertical) on a c. 1690s dummy. 
> I'm just trying to make sense of it and possibly get a better dating as 
> well.
>
> Thanks!
>
> Nicole
>
> --------------------
> "If you think education is expensive, try ignorance."
>
> _________________________________________________________________
> Are you using the latest version of MSN Messenger? Download MSN Messenger 
> 7.5 today! http://join.msn.com/messenger/overview
>
> _______________________________________________
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> 


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Subject: [h-cost] re: Spanish California Women's Costume
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>I am interested in finding information on Women's fashion from 1840 to 1850
>Ranchero life prior to the  Gold Rush in 49.  Particularly the dress that
>would be worn for fandangos for married women.

>Anyone got info or urls?

Rachael,
Call your local state historical park. Most of the volunteer assns are
very helpful to newcomers. In particular, try Peralta Adobe in SJ, San
Juan Bautista SHP and most especially Fort Ross. Many will have
reference lists.
Or read "Two Years Before the Mast".  He'll tell you what he saw 1st person.
Check the h-cost archives under "Californio" & fandango.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] More rhapsodising about the Tudor Tailor
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I will be selling The Tudor Tailor but I'm not sure exactly when I'll get copies or what the price will be.  A U.S. publisher is going to do an American edition but he hasn't set a release date yet.  I can get British copies through my regular wholesale distributor but they will be more expensive.

Janet
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Subject: [h-cost] Venetian research question - need help
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Hello, I am new to this list so before I continue, I'd like to introduce
myself.

My name is Rachel Sampsel and in the SCA my personae name is Raisa
Zaplatskaya, also called "Patches."  I've been playing in the SCA for a
little bit and now I have gotten myself into a bit of a pickle:

I've volunteered to run several plaster mask making workshops in
anticipation of a masked ball.  The organizer of the event would like to
focus on a Venetian theme.  Ok, no problem with that.

The problem comes in when I'm researching Venetian masking traditions
PRIOR to the 1600's.  I’d like to offer a “brief history of” handout and
I’m running into all kinds of problems. I've run across a number of
masking sources on the internet, professional suppliers, amateur sites and
so on that give a very romantic view of the masking tradition, but don't
supply any bibliography.

According to these sources, Venice had a strong masking tradition in
everyday life prior to 1268 C.E.  They swear up and down that it was VERY
common for peasants through nobles to wear masks in public anytime they
wanted to go about their “business” (legal and illegal) without anyone
knowing who they were.  These sources also swear that the first of many
laws limiting the use of masks occurred in 1268 C.E. to try and put a cap
on the illegal activities and moral declination of the city.  Some sources
hint that these were sumptuary laws and others that they were actual
“masking use” laws. These sources don’t give me any reference material to
work with and when I ask, they point me to another source that is equally
frustrating in terms of giving me a bibliography.

I have poured through every Venetian history book I can lay my hands on
and can’t find a single reference to masks in this regard prior to
Carnival becoming the city’s big money making attraction in the 18th
century. Logically, if masks were that widespread, that common and a big
enough problem that laws were enacted curtailing their manufacture and
use, I should have found it in at least 1 history book, right? I mean, one
book I tackled was Venice from 697 – 1797 and could provide socio-economic
figures for the city by year and class as well as reported criminal
statistics by neighborhood. Theoretically, if masking had become that
detrimental to  society, it would be deserving of at least a footnote,
would it not?

So my question is – does anyone have ANY idea on a reputable scholastic
source for Venetian masking traditions prior to the 17th century?  Is
there maybe a database out there with medieval Venetian law codes that I
can tear through or maybe a recognized scholarly authority SOMEWHERE on
the subject?

I really don’t want to look like a brainless twit on the subject when
people start poppin’ questions at me.

Any help would be appreciated at this juncture.

Patches



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From: "N Kipar" <marquesate@hotmail.com>
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Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th centuries?
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Yes of course! How could I forget, I tell you, my brain's gone to mush since 
I started the new job. ;-) If it is the one that I mean then it's 1670s. Is 
it this one?

http://www.kipar.org/period-galleries/engravings/1670/woman_summer_1675.jpg

However, it's not just the petticoat (in fairly broad stripes on the dummy) 
but in the fashion print it's the whole dress.

I wonder how many others I am currently forgetting due to brain overload.

Nicole

--------------------
"If you think education is expensive, try ignorance."




>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: "Historical Costume" <h-costume@indra.com>
>Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th 
>centuries?
>Date: Tue, 28 Mar 2006 20:36:16 +0200
>
>Dear Nicole,
>One of my favourite fashion prints from J.D. de Saint- Jean woman walking 
>with a light neckerchief on her head and a parasol, is a beautifull summer 
>mantua made from striped fabric. The stripes are made in the vertical 
>direction, but the bottom is horizontal. Made by ankles. My book doesnt 
>give a year, but i would say late 1680ies- 90
>
>
>Bjarne
>----- Original Message ----- From: "N Kipar" <marquesate@hotmail.com>
>To: <h-costume@indra.com>
>Sent: Tuesday, March 28, 2006 6:44 PM
>Subject: [h-cost] Striped petticoats in the late 17th/early 18th centuries?
>
>
>>I wonder if anyone knows about any possible significance of wearing 
>>striped petticoats. Or even just simply of evidence, in whatever form.
>>
>>I am surprised to see a striped petticoat (vertical) on a c. 1690s dummy. 
>>I'm just trying to make sense of it and possibly get a better dating as 
>>well.
>>
>>Thanks!
>>
>>Nicole
>>
>>--------------------
>>"If you think education is expensive, try ignorance."
>>
>>_________________________________________________________________
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>
>
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Hi, yes excactly this one.
Also isnt there a portrait of Queen Anne in a striped mantua?
Didnt realise it was that early 1670ies

Bjarne

----- Original Message ----- 
From: "N Kipar" <marquesate@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, March 28, 2006 9:33 PM
Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th 
centuries?


> Yes of course! How could I forget, I tell you, my brain's gone to mush 
> since I started the new job. ;-) If it is the one that I mean then it's 
> 1670s. Is it this one?
>
> http://www.kipar.org/period-galleries/engravings/1670/woman_summer_1675.jpg
>
> However, it's not just the petticoat (in fairly broad stripes on the 
> dummy) but in the fashion print it's the whole dress.
>
> I wonder how many others I am currently forgetting due to brain overload.
>
> Nicole
>
> --------------------
> "If you think education is expensive, try ignorance."
>
>
>
>
>>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>>Reply-To: Historical Costume <h-costume@indra.com>
>>To: "Historical Costume" <h-costume@indra.com>
>>Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th 
>>centuries?
>>Date: Tue, 28 Mar 2006 20:36:16 +0200
>>
>>Dear Nicole,
>>One of my favourite fashion prints from J.D. de Saint- Jean woman walking 
>>with a light neckerchief on her head and a parasol, is a beautifull summer 
>>mantua made from striped fabric. The stripes are made in the vertical 
>>direction, but the bottom is horizontal. Made by ankles. My book doesnt 
>>give a year, but i would say late 1680ies- 90
>>
>>
>>Bjarne
>>----- Original Message ----- From: "N Kipar" <marquesate@hotmail.com>
>>To: <h-costume@indra.com>
>>Sent: Tuesday, March 28, 2006 6:44 PM
>>Subject: [h-cost] Striped petticoats in the late 17th/early 18th 
>>centuries?
>>
>>
>>>I wonder if anyone knows about any possible significance of wearing 
>>>striped petticoats. Or even just simply of evidence, in whatever form.
>>>
>>>I am surprised to see a striped petticoat (vertical) on a c. 1690s dummy. 
>>>I'm just trying to make sense of it and possibly get a better dating as 
>>>well.
>>>
>>>Thanks!
>>>
>>>Nicole
>>>
>>>--------------------
>>>"If you think education is expensive, try ignorance."
>>>
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From: Althea Turner <althea@alfalfapress.com>
Subject: Re: [h-cost] Venetian research question - need help
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Ok, some of these have nothing to do with masks, but are interesting  
anyway. :D They might have bibliographies which will lead you to new  
sources.

Revelling in the past.   Geographical, Feb2003, Vol. 75 Issue 2, p28,  
7p, 9c; (AN 8933572)
THE OLD AND NEW WORLDS OF MARDI GRAS.   By: Ribeiro, Aileen. History  
Today, Feb86, Vol. 36 Issue 2, p30, 6p, 8bw; (AN 4885564)
OUTWARD APPEARANCES: THE DISPLAY OF WOMEN IN RESTORATION LONDON  
(ENGLAND)
Author: PRITCHARD, WILLIAM JAMES Degree: PH.D. Institution: THE  
UNIVERSITY OF CHICAGO 0330 Year: 1998
THEATRE OF THE FLESH: THE CARNIVAL OF VENICE AND THE THEATRE OF THE  
WORLD (THEATRUM MUNDI, ITALY)
Author: GIURGEA, ADRIAN Degree: PH.D. Institution: UNIVERSITY OF  
CALIFORNIA, LOS ANGELES 0031 Year: 1987

Good luck!
Althea





On Mar 28, 2006, at 11:24 AM, Rachel Sampsel wrote:

>
> Hello, I am new to this list so before I continue, I'd like to  
> introduce
> myself.
>
> My name is Rachel Sampsel and in the SCA my personae name is Raisa
> Zaplatskaya, also called "Patches."  I've been playing in the SCA  
> for a
> little bit and now I have gotten myself into a bit of a pickle:
>
> I've volunteered to run several plaster mask making workshops in
> anticipation of a masked ball.  The organizer of the event would  
> like to
> focus on a Venetian theme.  Ok, no problem with that.
>
> The problem comes in when I'm researching Venetian masking traditions
> PRIOR to the 1600's.  I’d like to offer a “brief history of”  
> handout and
> I’m running into all kinds of problems. I've run across a number of
> masking sources on the internet, professional suppliers, amateur  
> sites and
> so on that give a very romantic view of the masking tradition, but  
> don't
> supply any bibliography.
>
> According to these sources, Venice had a strong masking tradition in
> everyday life prior to 1268 C.E.  They swear up and down that it  
> was VERY
> common for peasants through nobles to wear masks in public anytime  
> they
> wanted to go about their “business” (legal and illegal) without anyone
> knowing who they were.  These sources also swear that the first of  
> many
> laws limiting the use of masks occurred in 1268 C.E. to try and put  
> a cap
> on the illegal activities and moral declination of the city.  Some  
> sources
> hint that these were sumptuary laws and others that they were actual
> “masking use” laws. These sources don’t give me any reference  
> material to
> work with and when I ask, they point me to another source that is  
> equally
> frustrating in terms of giving me a bibliography.
>
> I have poured through every Venetian history book I can lay my  
> hands on
> and can’t find a single reference to masks in this regard prior to
> Carnival becoming the city’s big money making attraction in the 18th
> century. Logically, if masks were that widespread, that common and  
> a big
> enough problem that laws were enacted curtailing their manufacture and
> use, I should have found it in at least 1 history book, right? I  
> mean, one
> book I tackled was Venice from 697 – 1797 and could provide socio- 
> economic
> figures for the city by year and class as well as reported criminal
> statistics by neighborhood. Theoretically, if masking had become that
> detrimental to  society, it would be deserving of at least a footnote,
> would it not?
>
> So my question is – does anyone have ANY idea on a reputable  
> scholastic
> source for Venetian masking traditions prior to the 17th century?  Is
> there maybe a database out there with medieval Venetian law codes  
> that I
> can tear through or maybe a recognized scholarly authority  
> SOMEWHERE on
> the subject?
>
> I really don’t want to look like a brainless twit on the subject when
> people start poppin’ questions at me.
>
> Any help would be appreciated at this juncture.
>
> Patches
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

Althea Turner
althea@alfalfapress.com

"Ignorant themselves of the forces of nature and wanting to have  
company in their ignorance, they don't want people to look into  
anything; they want us to believe like peasants and not ask the  
reasons behind things."
William of Conches, 12th century



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I have just spent heaven knows how long trying to find an image of an 
English or French woman on the 1570's, who does not have either a 
ruff, or a partlet, or a closed up neckline.

I don't want Italian - I have Moda a Firenze. (and want to make 
something from it, but it would not be right - boo!) I have checked 
the two Clouet databases in the French "Joconde" system, which are 
drool worthy, but unhelpful. I have checked www.marquise.de, "My 
Gracious Silence", Vecellio et al, plus postcards and books till I 
don't know what I am seeing.

I have to make a 6th dress for the court of Mary Queen of Scots, and 
have set a date, arbitrarily, for about 1573 for them all. (5 years 
either way would be fine.) So far all my dresses have partlets, worn 
in various ways, both white and black, and ruffs. I am desperate to 
find something accurate but different. Any help out there?  I know a 
lot of you are interested in this period.

Suzi


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Subject: [h-cost] quickie textile guide
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Hey all,
I have a friend who is not allowed to go to the fabric store without  
a keeper.  :D She knows nothing about fabrics and likes shiny bright  
SHINY fabrics, which are rarely a natural fiber.  So with her in  
mind, I am working on a quick guide that she, and others, can print  
out.  I am sure I am leaving out important information so if you  
could check it out and let me know, I'd greatly appreciate it. The  
intended audience is re-enactors without much experience with fabrics  
or sewing.

http://www.alfalfapress.com/dress/quickie_textile_guide.html

This is my first draft, so any input would be appreciated!! Thanks!!
Althea


Althea Turner
althea@alfalfapress.com

"Ignorant themselves of the forces of nature and wanting to have  
company in their ignorance, they don't want people to look into  
anything; they want us to believe like peasants and not ask the  
reasons behind things."
William of Conches, 12th century


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Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th centuries?
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N Kipar wrote:


> http://www.kipar.org/period-galleries/engravings/1670/woman_summer_1675.jpg
> 
> However, it's not just the petticoat (in fairly broad stripes on the 
> dummy) but in the fashion print it's the whole dress.
> 
> I wonder how many others I am currently forgetting due to brain overload.
> 

There's the one at the Met:

http://www.metmuseum.org/toah/hd/eudr/ho_33.54a,b.htm


I collected photos of dresses from this time period, but that is the 
only one with stripes that I have.


Dawn



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From: "Catrijn vanden Westhende" <catrijn@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] quickie textile guide
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One quick note, accuracy wise: 'silk' velvet is (almost?) always silk
ground and rayon pile, not vice versa.  You might expand on blends
where appropriate - for example, a linen-rayon blend, while not ideal,
is a great improvement over linen-look polyester.

You might also want to include basic information about why polyester
and many other synthetics are better avoided when possible -
breathability, fire safety, and durability are major points even for
someone who isn't driven to authenticity.

- Catrijn

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] what do renaissance seamen look like?
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>>   Sailors of the Elizabethan period, based on period art wear loose 
>> venetians or what willlater be called slops.  Some are shown closed at 
>> the bottom some are not.  The upper body garments tend to be either 
>> close fitting doublets, or a loose smock sort of jacket referred to in 
>> the period as a cassock.  The real obvious indicator of a sailor is the 
>> cap.  The most notable ones being thrummed caps.  Thrummed caps look in 
>> art like fur.  They are made from strands of woll (thrum) being afixed 
>> through the weave of kit caps, not unlike the modern watch cap.

Thrums are little bits of wool knotted together.  If you knit this up, and 
put all the knotted ends to the outside, it does look like fur.


>>   Good art does exist out there.  A number of Dutch maps shows mariner 
>> figures as does the Mariner's Mirror.  Actually the Dutch version and 
>> the English version depict some different figures.  I think it is just 
>> after the period, but there are the woodcuts of the BArents expeditions 
>> as well.  Some art survivies depicting one of Frobisher's trips as 
>> well.  There is also the image depicted in Vecellios that was earlier 
>> mentioned.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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From: "N Kipar" <marquesate@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th centuries?
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Thanks, Dawn. The peek of striped petticoat that you can see on the dummy is 
a lot more bold. :-)

http://www.kipar.org/temp/striped-petticoat-dummy.jpg

That's the lady.

Nicole

--------------------
"If you think education is expensive, try ignorance."




>From: Dawn <dawn@reddawn.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th 
>centuries?
>Date: Tue, 28 Mar 2006 14:34:05 -0600
>
>N Kipar wrote:
>
>
>>http://www.kipar.org/period-galleries/engravings/1670/woman_summer_1675.jpg
>>
>>However, it's not just the petticoat (in fairly broad stripes on the 
>>dummy) but in the fashion print it's the whole dress.
>>
>>I wonder how many others I am currently forgetting due to brain overload.
>>
>
>There's the one at the Met:
>
>http://www.metmuseum.org/toah/hd/eudr/ho_33.54a,b.htm
>
>
>I collected photos of dresses from this time period, but that is the only 
>one with stripes that I have.
>
>
>Dawn
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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Since I work at Joanns part time, I can't help but have noticed the 
fabric they sell called satin taffeta.  I can't figure out how you can 
combine satin and taffeta.  Aren't each of them a distinctive weave?

Sylrog

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In a message dated 3/28/2006 3:42:07 P.M. Eastern Standard Time,  
catrijn@gmail.com writes:

durability 


While durability is dependent not only on fiber, but also fabric structure,  
I think it is safe to say that polyester and nylon are very durable (they are  
used for tire cords, after all).  Rayon, on the other hand, is inherently  
weak, but some people do not consider it "synthetic" per se, since it is  
regenerated cellulose, but rather "man-made."
 
Ann Wass
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Subject: RE: [h-cost] More rhapsodising about the Tudor Tailor
Date: Tue, 28 Mar 2006 14:41:48 -0800
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I ordered mine online from the link originally posted on this list, try
email:
ninya@ninyamikhaila.com
 and got a voucher in the mail. It was converted to US$ on my Visa bill.
They will mail it when it comes in.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Abel, Cynthia
Sent: Tuesday, March 28, 2006 7:48 AM
To: Historical Costume
Subject: RE: [h-cost] More rhapsodising about the Tudor Tailor


Does anyone on this list know of any US sellers of this book? Or anyone
selling that accepts CC payment, not PayPal? It isn't listed on
Amazon.co.uk, yet!

Cindy Abel
Omaha NE 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Joannah Hansen
Sent: Tuesday, March 28, 2006 9:29 AM
To: Historic Costume List ; The Renaissance Tailor ; Authentic SCA 
Subject: [h-cost] More rhapsodising about the Tudor Tailor

I've been having a closer read of the 'Tudor Tailor' ( who needs sleep?
) and I am seriously, seriously impressed. I think the book may well have
set a new standard for publications of this genre. An excellent resource.

Now I want to do Tudor.......

Joannah
( suffering from multiple period disorder - Roman, ECW, Georgian/Rum Corp,
ACW - now what ELSE can I do....? )

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~

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Subject: RE: [h-cost] Venetian research question - need help
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I'm curious. Are you making a plaster mold to then cover in whatever the
mask is made of? What do you use for the base (to build upon)?
Sharon, who has made masks, with difficulty, because I didn't have a good
base :)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Rachel Sampsel
Sent: Tuesday, March 28, 2006 11:24 AM
To: h-costume@mail.indra.com
Subject: [h-cost] Venetian research question - need help



Hello, I am new to this list so before I continue, I'd like to introduce
myself.

My name is Rachel Sampsel and in the SCA my personae name is Raisa
Zaplatskaya, also called "Patches."  I've been playing in the SCA for a
little bit and now I have gotten myself into a bit of a pickle:

I've volunteered to run several plaster mask making workshops in
anticipation of a masked ball.  The organizer of the event would like to
focus on a Venetian theme.  Ok, no problem with that.

The problem comes in when I'm researching Venetian masking traditions PRIOR
to the 1600's.  I'd like to offer a "brief history of" handout and I'm
running into all kinds of problems. I've run across a number of masking
sources on the internet, professional suppliers, amateur sites and so on
that give a very romantic view of the masking tradition, but don't supply
any bibliography.

According to these sources, Venice had a strong masking tradition in
everyday life prior to 1268 C.E.  They swear up and down that it was VERY
common for peasants through nobles to wear masks in public anytime they
wanted to go about their "business" (legal and illegal) without anyone
knowing who they were.  These sources also swear that the first of many laws
limiting the use of masks occurred in 1268 C.E. to try and put a cap on the
illegal activities and moral declination of the city.  Some sources hint
that these were sumptuary laws and others that they were actual "masking
use" laws. These sources don't give me any reference material to work with
and when I ask, they point me to another source that is equally frustrating
in terms of giving me a bibliography.

I have poured through every Venetian history book I can lay my hands on and
can't find a single reference to masks in this regard prior to Carnival
becoming the city's big money making attraction in the 18th century.
Logically, if masks were that widespread, that common and a big enough
problem that laws were enacted curtailing their manufacture and use, I
should have found it in at least 1 history book, right? I mean, one book I
tackled was Venice from 697 - 1797 and could provide socio-economic figures
for the city by year and class as well as reported criminal statistics by
neighborhood. Theoretically, if masking had become that detrimental to
society, it would be deserving of at least a footnote, would it not?

So my question is - does anyone have ANY idea on a reputable scholastic
source for Venetian masking traditions prior to the 17th century?  Is there
maybe a database out there with medieval Venetian law codes that I can tear
through or maybe a recognized scholarly authority SOMEWHERE on the subject?

I really don't want to look like a brainless twit on the subject when people
start poppin' questions at me.

Any help would be appreciated at this juncture.

Patches



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Subject: RE: [h-cost] Images of 16th century ladies.
Date: Tue, 28 Mar 2006 15:14:46 -0800
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In one of my groups, one of the ladies has a doublet style bodice, but she
wears it open, sort of like a modern shirt, so it forms a "V" at the neck.
She doesn't wear a partlet, just a chemise, which is also open, over the
doublet, so that the underside of the chemise shows. Hope this makes sense.
I tried to get a pic, but it wouldn't copy. If you want more info, I'll ask
if it's ok to post the site where we have pics.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Tuesday, March 28, 2006 12:22 PM
To: Historical Costume
Subject: [h-cost] Images of 16th century ladies.



I have just spent heaven knows how long trying to find an image of an 
English or French woman on the 1570's, who does not have either a 
ruff, or a partlet, or a closed up neckline.

I don't want Italian - I have Moda a Firenze. (and want to make 
something from it, but it would not be right - boo!) I have checked 
the two Clouet databases in the French "Joconde" system, which are 
drool worthy, but unhelpful. I have checked www.marquise.de, "My 
Gracious Silence", Vecellio et al, plus postcards and books till I 
don't know what I am seeing.

I have to make a 6th dress for the court of Mary Queen of Scots, and 
have set a date, arbitrarily, for about 1573 for them all. (5 years 
either way would be fine.) So far all my dresses have partlets, worn 
in various ways, both white and black, and ruffs. I am desperate to 
find something accurate but different. Any help out there?  I know a 
lot of you are interested in this period.

Suzi


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From h-costume-bounces@indra.com  Tue Mar 28 18:15:13 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <BAY113-F29BA1562C22F3AABA13727D3D30@phx.gbl>
Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th centuries?
Date: Wed, 29 Mar 2006 01:14:44 +0200
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Hi Nicole,
Why do you ask about this particular petticoat. Are you not sure if it is 
correct. To me it looks real. Perhaps the underskirts, petticoats was not 
that important in design, so they used all kinds of, as it didnt show.

Bjarne
----- Original Message ----- 
From: "N Kipar" <marquesate@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, March 28, 2006 11:46 PM
Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th 
centuries?


> Thanks, Dawn. The peek of striped petticoat that you can see on the dummy 
> is a lot more bold. :-)
>
> http://www.kipar.org/temp/striped-petticoat-dummy.jpg
>
> That's the lady.
>
> Nicole
>
> --------------------
> "If you think education is expensive, try ignorance."
>
>
>
>
>>From: Dawn <dawn@reddawn.net>
>>Reply-To: Historical Costume <h-costume@indra.com>
>>To: Historical Costume <h-costume@indra.com>
>>Subject: Re: [h-cost] Striped petticoats in the late 17th/early 18th 
>>centuries?
>>Date: Tue, 28 Mar 2006 14:34:05 -0600
>>
>>N Kipar wrote:
>>
>>
>>>http://www.kipar.org/period-galleries/engravings/1670/woman_summer_1675.jpg
>>>
>>>However, it's not just the petticoat (in fairly broad stripes on the 
>>>dummy) but in the fashion print it's the whole dress.
>>>
>>>I wonder how many others I am currently forgetting due to brain overload.
>>>
>>
>>There's the one at the Met:
>>
>>http://www.metmuseum.org/toah/hd/eudr/ho_33.54a,b.htm
>>
>>
>>I collected photos of dresses from this time period, but that is the only 
>>one with stripes that I have.
>>
>>
>>Dawn
>>
>>
>>
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Very nice. A friend told me to take a portable lighter along- if you aren't
sure if it's polyester, get a sample, take it outside and burn it.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Althea Turner
Sent: Tuesday, March 28, 2006 12:24 PM
To: Historical Costume
Subject: [h-cost] quickie textile guide


Hey all,
I have a friend who is not allowed to go to the fabric store without  
a keeper.  :D She knows nothing about fabrics and likes shiny bright  
SHINY fabrics, which are rarely a natural fiber.  So with her in  
mind, I am working on a quick guide that she, and others, can print  
out.  I am sure I am leaving out important information so if you  
could check it out and let me know, I'd greatly appreciate it. The  
intended audience is re-enactors without much experience with fabrics  
or sewing.

http://www.alfalfapress.com/dress/quickie_textile_guide.html

This is my first draft, so any input would be appreciated!! Thanks!! Althea


Althea Turner
althea@alfalfapress.com

"Ignorant themselves of the forces of nature and wanting to have  
company in their ignorance, they don't want people to look into  
anything; they want us to believe like peasants and not ask the  
reasons behind things."
William of Conches, 12th century


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Date: Tue, 28 Mar 2006 15:26:24 -0800
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Images of 16th century ladies.
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At 12:22 PM 3/28/2006, you wrote:
>I have just spent heaven knows how long trying to find an image of an 
>English or French woman on the 1570's, who does not have either a ruff, or 
>a partlet, or a closed up neckline.


Ahhhhhh... nope, not in my records. They all have a version of something 
from the above list. Sorry.

Kimiko


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>
>
> I have to make a 6th dress for the court of Mary Queen of Scots, and
> have set a date, arbitrarily, for about 1573 for them all. (5 years
> either way would be fine.) So far all my dresses have partlets, worn
> in various ways, both white and black, and ruffs. I am desperate to
> find something accurate but different. Any help out there?  I know a
> lot of you are interested in this period.
>
> Suzi
>
>
> I don't have the book to hand, that whole at work thing, but I do recall
> some needleworks showing ladies about the garden that while they have the
> high neck/partlet/ruff on and it's allowed to fall open at the neck,
> creating a bit of a different look.  If that helps I can scan a copy in,
> in an hour or two,



Alex
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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Images of 16th century ladies.
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At 12:22 PM 3/28/2006, you wrote:

>I have just spent heaven knows how long trying to find an image of 
>an English or French woman on the 1570's, who does not have either a 
>ruff, or a partlet, or a closed up neckline.
>
>I don't want Italian - I have Moda a Firenze. (and want to make 
>something from it, but it would not be right - boo!) I have checked 
>the two Clouet databases in the French "Joconde" system, which are 
>drool worthy, but unhelpful. I have checked www.marquise.de, "My 
>Gracious Silence", Vecellio et al, plus postcards and books till I 
>don't know what I am seeing.
>
>I have to make a 6th dress for the court of Mary Queen of Scots, and 
>have set a date, arbitrarily, for about 1573 for them all. (5 years 
>either way would be fine.) So far all my dresses have partlets, worn 
>in various ways, both white and black, and ruffs. I am desperate to 
>find something accurate but different. Any help out there?  I know a 
>lot of you are interested in this period.
>
>Suzi

Given the ubiquity of ruffs in the 1570s, I'd be very surprised to 
find a portrait that did not show a ruff of some style.  The biggest 
variation in the design of clothes tends to be in the sleeve style, 
whether high- (also called a doublet bodice) or low-bodied (with a 
partlet), and whether or not the overskirt is open over a 
forepart.  The other way to vary things is by fabric choices.  But 
there will not be a big variation in silhouette.


Mistress Blanche Parry, chief Gentlewoman to the Queen [GoSGN]
aka Joan Jurancich
joanmj@surewest.net 

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Images of 16th century ladies.
Date: Tue, 28 Mar 2006 16:06:23 -0800
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That's the look I was talking about. The chemise neck has a small ruffle,
but it's not a big ruff.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Alexandria Doyle
Sent: Tuesday, March 28, 2006 3:48 PM
To: Historical Costume
Subject: Re: [h-cost] Images of 16th century ladies.


>
>
> I have to make a 6th dress for the court of Mary Queen of Scots, and 
> have set a date, arbitrarily, for about 1573 for them all. (5 years 
> either way would be fine.) So far all my dresses have partlets, worn 
> in various ways, both white and black, and ruffs. I am desperate to 
> find something accurate but different. Any help out there?  I know a 
> lot of you are interested in this period.
>
> Suzi
>
>
> I don't have the book to hand, that whole at work thing, but I do 
> recall some needleworks showing ladies about the garden that while 
> they have the high neck/partlet/ruff on and it's allowed to fall open 
> at the neck, creating a bit of a different look.  If that helps I can 
> scan a copy in, in an hour or two,



Alex
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Subject: [h-cost] cheap books
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Thought I would share this source for discounted titles:

http://www.bookcloseouts.com

They have a number of books on textiles, rugs, embroideries, blankets, 
etc. as well as art and history titles also useful in costume research.

And everything seems to be in the 40%-75% off retail range!



Dawn


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Subject: Re: [h-cost] Images of 16th century ladies.
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I'd say a doublet would be your best choice, if it didn't fall into the
verboten "closed up neckline" category.
--Sue

----- Original Message -----
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 28, 2006 1:22 PM
Subject: [h-cost] Images of 16th century ladies.


>
> I have just spent heaven knows how long trying to find an image of an
> English or French woman on the 1570's, who does not have either a
> ruff, or a partlet, or a closed up neckline.
>
> I don't want Italian - I have Moda a Firenze. (and want to make
> something from it, but it would not be right - boo!) I have checked
> the two Clouet databases in the French "Joconde" system, which are
> drool worthy, but unhelpful. I have checked www.marquise.de, "My
> Gracious Silence", Vecellio et al, plus postcards and books till I
> don't know what I am seeing.
>
> I have to make a 6th dress for the court of Mary Queen of Scots, and
> have set a date, arbitrarily, for about 1573 for them all. (5 years
> either way would be fine.) So far all my dresses have partlets, worn
> in various ways, both white and black, and ruffs. I am desperate to
> find something accurate but different. Any help out there?  I know a
> lot of you are interested in this period.
>
> Suzi
>
>
> _______________________________________________
> 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 3/28/2006 3:24:56 P.M. Eastern Standard Time,  
althea@alfalfapress.com writes:

http://www.alfalfapress.com/dress/quickie_textile_guide.html

This  is my first draft, so any input would be appreciated!!  Thanks!!
There are  several small errors or sort-of-but-not-quite truths here.  Do you 
have a  basic textile science book?
 
For example:
 

 The linen-rayon blends are generally cheaper than 100% linen. They are a  
good compromise if necessary. They have the added benefit of making the fabric  
less wrinkle prone. 
 
This statement is just not true.  While linen does crease badly, rayon  
wrinkles like crazy.  Besides, I don't recall seeing this particular  blend.  
Cotton/linen, yes, and polyester/rayon (your "linen look"),  yes.
 
Also, your discussion of flammability of manmade fibers vs natural ones;  
woolen/worsted. 
 
Ann Wass
 
 
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From: Althea Turner <althea@alfalfapress.com>
Subject: Re: [h-cost] quickie textile guide
Date: Tue, 28 Mar 2006 20:33:02 -0800
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Hi Ann!
thanks for the comments! :D

On Mar 28, 2006, at 7:37 PM, AnnBWass@aol.com wrote
> This  is my first draft, so any input would be appreciated!!  Thanks!!
> There are  several small errors or sort-of-but-not-quite truths  
> here.  Do you
> have a  basic textile science book?
>

Actually several. :D

> For example:
>
>
>  The linen-rayon blends are generally cheaper than 100% linen. They  
> are a
> good compromise if necessary. They have the added benefit of making  
> the fabric
> less wrinkle prone.
>
> This statement is just not true.  While linen does crease badly, rayon
> wrinkles like crazy.  Besides, I don't recall seeing this  
> particular  blend.
> Cotton/linen, yes, and polyester/rayon (your "linen look"),  yes.
>

Our local Joanne's carries a linen/ rayon blend (currently on sale  
30% off) and from experience with the fabric, it does wrinkle less.  
I've found the wrinkly-ness of rayon is dependent on the type of  
fabric.  Rayon crepe can be worn for days with nary a wrinkle, but  
challis can wrinkle if you look at it crossly.


> Also, your discussion of flammability of manmade fibers vs natural  
> ones;
> woolen/worsted.
>

Not really sure what you mean here.  Polyester and Nylon are much  
more flammable than natural fibers.  And they do melt when burned.    
"Flammable" might not be the exact technical term, but it's a word  
everyone understands.  The info on the worsted/ woolen is straight  
from of my books on textiles.  If it is wrong, I'd be happy to change  
it.

This guide is intended for folks who know NOTHING about fabrics and  
want to make good choices when venturing into the scary territory of  
a fabric store.  I want to keep it extremely basic, but give  
suggestions so they steer clear of really bad fabric decisions.

Thanks for the input!


Althea Turner
althea@alfalfapress.com

"Ignorant themselves of the forces of nature and wanting to have  
company in their ignorance, they don't want people to look into  
anything; they want us to believe like peasants and not ask the  
reasons behind things."
William of Conches, 12th century


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Subject: RE: [h-cost] quickie textile guide
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Very nice!  I'm not a sewing "noob" but I don't have any experience with
linen and silk, and very little with wool.  :-)

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Images of 16th century ladies.
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At 00:47 29/03/2006, you wrote:
> >
> >
> > I have to make a 6th dress for the court of Mary Queen of Scots, and
> > have set a date, arbitrarily, for about 1573 for them all. (5 years
> > either way would be fine.) So far all my dresses have partlets, worn
> > in various ways, both white and black, and ruffs. I am desperate to
> > find something accurate but different. Any help out there?  I know a
> > lot of you are interested in this period.
> >
> > Suzi
> >
> >
> > I don't have the book to hand, that whole at work thing, but I do recall
> > some needleworks showing ladies about the garden that while they have the
> > high neck/partlet/ruff on and it's allowed to fall open at the neck,
> > creating a bit of a different look.  If that helps I can scan a copy in,
> > in an hour or two,


Thanks but we already have a version of that.

Suzi


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Quoting AnnBWass@aol.com:

*snippage*

>
>> The linen-rayon blends are generally cheaper than 100% linen. They are a
>> good compromise if necessary. They have the added benefit of making 
>> the fabric
>> less wrinkle prone.
>
> This statement is just not true.  While linen does crease badly, rayon
> wrinkles like crazy.  Besides, I don't recall seeing this particular  blend.
> Cotton/linen, yes, and polyester/rayon (your "linen look"),  yes.

Really.  I've got about 15 yards of rayon/linen blend.  Has a *very*
nice hand to it.  Got it at Hancocks on the $2.00/yard table.  :-)  10
yards of yellow, 5 of light green (or is it the other way around!)

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] quickie textile guide
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Ann wrote:
> The linen-rayon blends are generally cheaper than 100% linen. They are a
> good compromise if necessary. They have the added benefit of making the 
> fabric
> less wrinkle prone.
> This statement is just not true.  While linen does crease badly, rayon
> wrinkles like crazy.  Besides, I don't recall seeing this particular 
> blend.
> Cotton/linen, yes, and polyester/rayon (your "linen look"),  yes.

There are plenty of linen/rayon blends out there; I could buy more right 
now, if I wasn't still working from my stash.  I've been making clothes from 
both linen/rayon and cotton/linen blends since the 1970's.  Adding either 
fibre to the linen doesn't eliminate the wrinkles, but it does greatly 
soften the creases, in proportion to the mix.  (80/20 blends are crisper 
than 50/50 blends)  The prices on blends are less than on 100% linen, and 
usually increase as the percentage of linen goes up.
                      -Helen/Aidan

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Images of 16th century ladies.
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----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 29, 2006 7:22 AM
Subject: [h-cost] Images of 16th century ladies.


>
> I have just spent heaven knows how long trying to find an image of an 
> English or French woman on the 1570's, who does not have either a ruff, or 
> a partlet, or a closed up neckline.
>
<snip>
What about this portrait 
http://www.tudorplace.com.ar/images/DevereuxSisters.JPG you can find a brief 
biography of the subjects at http://www.tudorplace.com.ar/DEVEREUX.htm it's 
dated 1581, so it's a little outside your time period but it's all I could 
find maybe they were behind the fashion? Though with Lettice Knollys as 
their mother I'd doubt it.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Date: Wed, 29 Mar 2006 11:10:45 +0200
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] quickie textile guide
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On Tue, 28 Mar 2006 12:23:54 -0800, Althea Turner  
<althea@alfalfapress.com> wrote:
> I have a friend who is not allowed to go to the fabric store without a  
> keeper.  :D She knows nothing about fabrics and likes shiny bright SHINY  
> fabrics, which are rarely a natural fiber.

You must have met a friend of mine. She with the marked weakness for above  
mentioned fabrics with lots and lots of 19thC flower patterns. I'll pass  
this on to her as she does high medieval before timetravel was invented.
:-)

I'd throw in something about polyester in the wool section. Never buy wool  
with more than 30% polyester for one thing. And telling the difference  
between polyester and wool. Not easy at all. I have a few fabrics from the  
famous polyester sheep. The weave and colors are perfect. I just didn't  
know how to tell the better polyester from wool when I started out.

And if you get around to it, a short list of when you used some of the  
shiny beautiful synthetic fabrics. Which 60's/80's ? 1360's, 1460's or  
1960's/80's ?
:-)

Gunvor

-- 
"Jeg har sagt ja og nei og DA får du lov"
Anders (nesten 4 år)
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Date: Wed, 29 Mar 2006 11:35:06 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Images of 16th century ladies.
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At 09:26 29/03/2006, you wrote:
>----- Original Message ----- From: "Suzi Clarke" <suzi@suziclarke.co.uk>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Wednesday, March 29, 2006 7:22 AM
>Subject: [h-cost] Images of 16th century ladies.
>
>
>>
>>I have just spent heaven knows how long trying to find an image of 
>>an English or French woman on the 1570's, who does not have either 
>>a ruff, or a partlet, or a closed up neckline.
><snip>
>What about this portrait 
>http://www.tudorplace.com.ar/images/DevereuxSisters.JPG you can find 
>a brief biography of the subjects at 
>http://www.tudorplace.com.ar/DEVEREUX.htm it's dated 1581, so it's a 
>little outside your time period but it's all I could find maybe they 
>were behind the fashion? Though with Lettice Knollys as their mother 
>I'd doubt it.
>Elizabeth

I think a possible reason for the bare neck is that Dorothy is only 
17 at the time of the painting. The Francois Clouet portraits on the 
Joconde site seem to have a similar age differential. Younger girls 
have nothing in the neck there either, or a long strand of some 
jewellery across the collar bones.

Suzi


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In a message dated 3/28/2006 11:43:50 P.M. Eastern Standard Time,  
sfarmer@goldsword.com writes:

Really.  I've got about 15 yards of rayon/linen blend.  Has a  *very*
nice hand to it.  Got it at Hancocks on the $2.00/yard  table.  :-)  10
yards of yellow, 5 of light green (or is it the  other way around!)




I stand corrected.  I shouldn't have made that comment, I guess, as I  
haven't cruised the chain fabric aisles lately.  When I did work at  Hancock, 
poly/rayon was the thing, but that was a while ago.
 
Last time I bought "linen", it was at a store in New York that only sold  the 
real thing, and that was all they sold.
 
However, I think I'm safe on the wrinkle part.  I suspect that rayon  is 
being used to blend for cost (it is a really cheap fiber), and, perhaps, for  
hand, as you point out.  Rayon DOES drape well, and takes dyes well, but  this 
also does mean it wrinkles.
 
Ann Wass
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Mine arrived yesterday too (was late ordering it), and it is very good (from 
what I've read so far).

Saw some of the out fits at the re-enactors market a couple of weeks agao, 
and they look as good close up as in the pics.

Debbie

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Images of 16th century ladies.
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At 09:26 29/03/2006, you wrote:
>----- Original Message ----- From: "Suzi Clarke" <suzi@suziclarke.co.uk>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Wednesday, March 29, 2006 7:22 AM
>Subject: [h-cost] Images of 16th century ladies.
>
>
>>
>>I have just spent heaven knows how long trying to find an image of 
>>an English or French woman on the 1570's, who does not have either 
>>a ruff, or a partlet, or a closed up neckline.
><snip>
>What about this portrait 
>http://www.tudorplace.com.ar/images/DevereuxSisters.JPG you can find 
>a brief biography of the subjects at 
>http://www.tudorplace.com.ar/DEVEREUX.htm it's dated 1581, so it's a 
>little outside your time period but it's all I could find maybe they 
>were behind the fashion? Though with Lettice Knollys as their mother 
>I'd doubt it.
>Elizabeth


I know that picture - I've seen it in real life. And I didn't 
remember that one sister had an open neck. Brilliant - thank you. I 
shall go and look back through my photos  I actually took a photo of 
it - the room is lined with  gilded Spanish Leather! (Makes a change 
from wallpaper!)

Suzi


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Subject: Re: [h-cost] quickie textile guide
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I've got rayon/linen blends, 100 % linen, and linen/cotton blends, and I
really don't notice that much of a difference in the wrinkling between them,
whether that's folds that occur during storage, or wrinkles from washing and
drying, or from use.  The main difference seems to be in the hand of the
fabrics--linen being most crisp, whatever its weight, and rayon blend the
least (very soft, drapey), and the cotton blend closer to the linen.
I generally prefer to purchase 100% linen, but sometimes go with the
linen/rayon blends when it gets really cheap at my local fabric store (we
only have a JoAnn's...closest Hancock's is out of state).
--Sue

----- Original Message -----
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, March 29, 2006 4:13 AM
Subject: Re: [h-cost] quickie textile guide


>
> In a message dated 3/28/2006 11:43:50 P.M. Eastern Standard Time,
> sfarmer@goldsword.com writes:
>
> Really.  I've got about 15 yards of rayon/linen blend.  Has a  *very*
> nice hand to it.  Got it at Hancocks on the $2.00/yard  table.  :-)  10
> yards of yellow, 5 of light green (or is it the  other way around!)
>
>
>
>
> I stand corrected.  I shouldn't have made that comment, I guess, as I
> haven't cruised the chain fabric aisles lately.  When I did work at
Hancock,
> poly/rayon was the thing, but that was a while ago.
>
> Last time I bought "linen", it was at a store in New York that only sold
the
> real thing, and that was all they sold.
>
> However, I think I'm safe on the wrinkle part.  I suspect that rayon  is
> being used to blend for cost (it is a really cheap fiber), and, perhaps,
for
> hand, as you point out.  Rayon DOES drape well, and takes dyes well, but
this
> also does mean it wrinkles.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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What a great guide for new sewers! I did wonder about a couple of things:

  - the muslin/calico thing: I believe in England the use of the terms 
is the reverse of what it is here in the States. That may not be an 
issue for the people you will be handing this to, but you may want to 
note that for people who find your guide online

- I've usually seen batiste, cambric, and lawn as terms applied to 
cottons but not linens

- (not a comment about the guide--just a question for the group, out of 
curiosity) do many people use 5-7oz linen for shifts? Just curious--I 
always use the 3.5 oz linen from fabrics-store.com...

- lately many of the online fabric stores (Joann's too) have been 
selling cotton twill, which is a better weight for pants/tunics than 
broadcloth, if one absolutely must go with cotton instead of wool. Might 
be worth a mention.

- might want to warn them that if they use tropical weight wool for 
garments they may need to be lined

- shantung is a tough one. From some stores, the shantung is very close 
to dupioni (a sheen, and fewer slubs). In others, it's closer to a noile 
(no sheen).

- dupioni vs. noile: putting these together might really confuse new 
folks. Dupioni tends to be shinier and look more like "silk" to the 
untrained eye, while noile tends to look more like a cotton.

- silk organza is showing up in quite a few places now. Do you want to 
mention it?

- how about cotton velvet vs. rayon velvet vs velveteen: another one 
that confuses people

whew! I hope that's not too much--just some musings...

- Hope


AnnBWass@aol.com wrote:
> http://www.alfalfapress.com/dress/quickie_textile_guide.html
> This  is my first draft, so any input would be appreciated!!  
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>
> http://www.alfalfapress.com/dress/quickie_textile_guide.html
>
> This is my first draft, so any input would be appreciated!! Thanks!!
> Althea
>
>
> Althea Turner

You should probably note that China silk is also called habotai, depending 
on who's selling it.

I noticed that you have crepe de chine listed with China silk and 
chiffon--it really should have its own category. Crepe de chine is woven 
with tightly twisted threads so it has a fairly flat luster and a 'pebbly' 
texture. It's also usually heavier than chiffon or habotai. Drapes 
beautifully, not sure if it's SCA period in the slightest.

Not sure if you want to mention gabardine at all--poly gab is visually 
indistinguishable from wool gab.

Pixel/Margaret
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A good idea!

The one thing I noticed missing was upholstery fabric, which tends to be extremely popular around here for the various brocade patterns.  The fabric content of these can be really crazy and, unlike cloth for clothes, I don't think they're legally required to disclose it.  There's also woven patterns vs. printed patterns to be aware of and the question of weight.

Janet
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At 10:50 AM 3/28/2006, you wrote:
> >I am interested in finding information on Women's fashion from 1840 to 1850
> >Ranchero life prior to the  Gold Rush in 49.  Particularly the dress that
> >would be worn for fandangos for married women.
>
> >Anyone got info or urls?
>
>Rachael,
>Call your local state historical park. Most of the volunteer assns are
>very helpful to newcomers. In particular, try Peralta Adobe in SJ, San
>Juan Bautista SHP and most especially Fort Ross. Many will have
>reference lists.
>Or read "Two Years Before the Mast".  He'll tell you what he saw 1st person.
>Check the h-cost archives under "Californio" & fandango.
>--cin
>Cynthia Barnes
>CinBarnes@gmail.com
>

Or you can call Sutter's Fort in Sacramento.  (I'm a docent there.)


Joan Jurancich
joanmj@surewest.net 

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Subject: Re: [h-cost] Images of 16th century ladies.
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Why would the "closed up neckline" be 'verboten'?  I wear a 
high-bodied gown (doublet style) closed all the way up.  Made with 
the proper fabrics (linen for the shift, etc.), it's perfectly comfortable.

Joan in Sacramento, CA

At 07:07 PM 3/28/2006, you wrote:
>I'd say a doublet would be your best choice, if it didn't fall into the
>verboten "closed up neckline" category.
>--Sue
>
>----- Original Message -----
>From: "Suzi Clarke" <suzi@suziclarke.co.uk>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Tuesday, March 28, 2006 1:22 PM
>Subject: [h-cost] Images of 16th century ladies.
>
>
> >
> > I have just spent heaven knows how long trying to find an image of an
> > English or French woman on the 1570's, who does not have either a
> > ruff, or a partlet, or a closed up neckline.
> >
> > I don't want Italian - I have Moda a Firenze. (and want to make
> > something from it, but it would not be right - boo!) I have checked
> > the two Clouet databases in the French "Joconde" system, which are
> > drool worthy, but unhelpful. I have checked www.marquise.de, "My
> > Gracious Silence", Vecellio et al, plus postcards and books till I
> > don't know what I am seeing.
> >
> > I have to make a 6th dress for the court of Mary Queen of Scots, and
> > have set a date, arbitrarily, for about 1573 for them all. (5 years
> > either way would be fine.) So far all my dresses have partlets, worn
> > in various ways, both white and black, and ruffs. I am desperate to
> > find something accurate but different. Any help out there?  I know a
> > lot of you are interested in this period.
> >
> > Suzi

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AnnBWass@aol.com wrote:

> 
>>  The linen-rayon blends are generally cheaper than 100% linen. They are a  
>> good compromise if necessary. They have the added benefit of making the fabric  
>> less wrinkle prone. 
>  
> This statement is just not true.  While linen does crease badly, rayon  
> wrinkles like crazy.  Besides, I don't recall seeing this particular  blend.  
> Cotton/linen, yes, and polyester/rayon (your "linen look"),  yes.
>  

FWIW, I have several bolts and pieces of linen-rayon in my stash. 
Fabric.com sells it from time to time, and I see a lot of it on the 
'dollar' aisle at Joann's and Hancocks chain stores.

My experience with it is that while it does wrinkle, it's much easier to 
iron out afterward than 100% linen. :)



Dawn


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Subject: RE: [h-cost] Images of 16th century ladies.
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At 00:14 29/03/2006, you wrote:
>In one of my groups, one of the ladies has a doublet style bodice, but she
>wears it open, sort of like a modern shirt, so it forms a "V" at the neck.
>She doesn't wear a partlet, just a chemise, which is also open, over the
>doublet, so that the underside of the chemise shows. Hope this makes sense.
>I tried to get a pic, but it wouldn't copy. If you want more info, I'll ask
>if it's ok to post the site where we have pics.
>Sharon


Thanks Sharon, but I know what you mean, and can find that kind of 
image. It's the naked neck I can't find. I don't think it exists in 
the art of the period, at least not that I can find.

Suzi


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Whoops, now I see the photo on your home page, but can't find the one I 
was refereeing to.  You are standing in some sort of encampment with 
your little dutch cap on.  Are those the same?  Your stays almost look 
shiny...the other I thought looked sort of woolly.

Sg

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At 06:29 29/03/2006, you wrote:
>Why would the "closed up neckline" be 'verboten'?  I wear a 
>high-bodied gown (doublet style) closed all the way up.  Made with 
>the proper fabrics (linen for the shift, etc.), it's perfectly comfortable.


When you work for other people, as I do, you go with what they want. 
They are paying money to wear what they want. You may well be 
perfectly comfortable is a doublet bodice.  My customer does not want 
that style. The other five ladies all have open necklines,  and my 
customer wants a similar style, but would prefer not to wear a ruff 
or partlet. My job is to do the research and produce the goods. I was 
therefore asking if anyone could help with my research.

It does not matter to me what other people choose to wear - that is 
their personal choice. My own choice is a loose gown, but I would not 
try to persuade a customer to wear one if they did not like it. The 
"closed-up neckline" is only "verboten" as far as this customer is concerned.

Suzi



>> >
>> > I have just spent heaven knows how long trying to find an image of an
>> > English or French woman on the 1570's, who does not have either a
>> > ruff, or a partlet, or a closed up neckline.
>> >
>> > I don't want Italian - I have Moda a Firenze. (and want to make
>> > something from it, but it would not be right - boo!) I have checked
>> > the two Clouet databases in the French "Joconde" system, which are
>> > drool worthy, but unhelpful. I have checked www.marquise.de, "My
>> > Gracious Silence", Vecellio et al, plus postcards and books till I
>> > don't know what I am seeing.
>> >
>> > I have to make a 6th dress for the court of Mary Queen of Scots, and
>> > have set a date, arbitrarily, for about 1573 for them all. (5 years
>> > either way would be fine.) So far all my dresses have partlets, worn
>> > in various ways, both white and black, and ruffs. I am desperate to
>> > find something accurate but different. Any help out there?  I know a
>> > lot of you are interested in this period.
>> >
>> > Suzi
>
>_______________________________________________
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>h-costume@mail.indra.com
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>
>


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Hi Rachel, welcome to the list. :-)

I can nod gravely with the "been there, done that"
expression on my face. I have been slowly, slowly
digging into Venetian mask wearing and making for a
few years now. I've written a couple of SCA A&S papers
on it, if you are interested in comparing what I have
to what you have collected. 
http://outoftheattic.homeip.net/Venetian_Masks.html
I ran into the same brick walls you did. There was one
grad listed on some university site somewhere that did
her senior thesis on Venetian masks, but I have yet to
figure out how to make contact with her.
I find that a lot of Italian, particularly Venetian
historical documents are few and far in between, and
even less written in English. One needs to have a
working knowledge of Latin Italian *and* access to the
documents in question before one gets anywhere. And
thus far, every attempt I have made to locate primary
source materials in Italy have failed. The Italians
just don't respond.
This is not to discourage you, but giving you an idea
of what you are up against. I am all *too* happy to
pool resources and come up with something that we
would be satisfied with.
Basically, you'll likely have to get used to the
statement "I don't know yet, but I'm working on it",
until you weed out what you are looking for.

Kathy

> The problem comes in when I'm researching Venetian
> masking traditions
> PRIOR to the 1600's.  Iï¿½d like to offer a ï¿½brief
> history ofï¿½ handout and
> Iï¿½m running into all kinds of problems. I've run
> across a number of
> masking sources on the internet, professional
> suppliers, amateur sites and
> so on that give a very romantic view of the masking
> tradition, but don't
> supply any bibliography.
<snip>
> So my question is ï¿½ does anyone have ANY idea on a
> reputable scholastic
> source for Venetian masking traditions prior to the
> 17th century?  Is
> there maybe a database out there with medieval
> Venetian law codes that I
> can tear through or maybe a recognized scholarly
> authority SOMEWHERE on
> the subject?

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin

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Subject: Re: [h-cost] Images of 16th century ladies
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At 12:22 PM 3/28/2006, you wrote:
>I have just spent heaven knows how long trying to find an image of an
>English or French woman on the 1570's, who does not have either a ruff, or
>a partlet, or a closed up neckline.

Here ya go Suzi,

I've got Arabella Stuart as a child c1577, Eliz I's greatniece IIRC,
with what looks like a Peter Pan collar.  Cant tell if it's a partlet
or smock. Not exactly French, not exactly "woman", yet.

"Catherine de Médicis, reine de France (1519-1589), représentée au
moment de son arrivée en France - Corneille de Lyons Versailles" which
means I probably found it on a French site. Undated.

"Marguerite de Valois, Enfant - Francois Clouet - 3eme quartier du
16eme siecle". Also undated.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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>>Call your local state historical park. Most of the volunteer assns are
>>very helpful to newcomers. ... Many will have reference lists.

>Or you can call Sutter's Fort in Sacramento.  (I'm a docent there.)
>Joan Jurancich

Why didnt I think of that?!  Yes, Sutter's has absolutely one of the
best re-enactment programs in the state. They do an awesome job. When
I was head of the volunteer assn at San Juan Bautista, the Sutter's
Fort team courteously hosted (and hostessed) 4 of us to a wonderful
"backstage" tour. They were very warm & sharing of all their info &
sources.

IIRC, One of the most interesting things they do is to all choose
exactly one day that they are recreating, so if it's really 30 Mar,
then it will be 30 Mar 1848.  This means they're all talking about the
same local events, fashions, people, & world news as they speak to
visitors & each other.  It's a great experience.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] OT(?): for whoever was seeking Eowyn fabric
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Here's one that was used in a very successful recreation of the Green Gown:
http://tinyurl.com/mlowh

Not an exact match for the film fabric, but very lovely. :-)

~ M.

==================
~ Twinkle, dammit! ~


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From: Cin <cinbarnes@gmail.com>
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Subject: Re: [h-cost] quickie textile guide
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> http://www.alfalfapress.com/dress/quickie_textile_guide.html
>
> This is my first draft, so any input would be appreciated!! Thanks!!
> Althea Turner

Nice start!
Velvet as you say, is a weave, but not just in silk.  There is cotton,
usually called unwaled corduroy, tho it's relatively rare these days
as is silk velvet.  Wool velvet is called plush. No, I dont know why.

Silks can be sorted by whole thread and partial thread fibers. Worms
generate a thread, sometimes several, which varies thruout the coccoon
in quality & length.  Noil is the short bits of the silk thread
formerly considered too poor for pure silk weaves. Other silks are
"whole thread".

Silks can also be sorted by wild vs cultivated moths. Most cultivated
silk comes from a single species whose name I have forgotten. Habotai
tabby and highest-quality satins are made with the smooth, fine end of
this thread.

Next, there are the silk categories those of raw silks, processed
silks and blends.

Shantung is made with processed, whole thread wild tussah worm output.
IIRC, Pongee is made with coarse end, raw tussah silk. Dupioni is
naturally double stranded silk from domesticated worms.
Thai silk is usually shot shantung.

Finally there are the various finishing techniques used to crisp or
add uniform shine to a fabric. Wash a shantung and you see the
difference the finishing technique makes. I know almost nothing about
factory finishes & glazes for fabric. Perhaps someone else does.

That's just a little about the unspun, unwoven, undyed, finished silk.
 There's more, of course.  You'll probably enjoy the research process.
I did.

All that said, the names of fabrics change over the years and even the
experts will argue over what exact fiber+weave+treatment+finish combo
is cambric, damask, brocade and all those other materials we think we
know. Damned marketeers.

Back to your doc: Way up at the top, you mention scrunching fabric in
your hand.  Yes, do this, but breathe on the scrunched handful.  Keep
scrunching maybe 1 min.  Drop the fabric & notice how wrinkly it is. 
Walk away for 5 mins. When you come back, notice whether the scrunched
bit is less wrinkley.  This will give you some indication of it's
pressing characteristics.

Down at the bottom you mention "in period".  I dont know who you are
writing for, but "in period" means different things to different
groups. For example, Whitey's Lindy Hoppers would consider rayon "in
period". Victorian re-enactors might look up the "artificial silk"
patent filed in 1855.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] Venetian Masking
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Message: 3
Date: Tue, 28 Mar 2006 14:47:21 -0800
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
Subject: RE: [h-cost] Venetian research question - need help
To: "'Historical Costume'" <h-costume@indra.com>
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I'm curious. Are you making a plaster mold to then cover in whatever the
mask is made of? What do you use for the base (to build upon)?
Sharon, who has made masks, with difficulty, because I didn't have a good
base :)

Patches writes:

I've got 2 methods and neither are what the pro shops use.

Method 1 that I show folks is to build the mask directly on the face using
plaster. This obviously requires a partner. 
Method 2 is like method 1 only a encase the face in plaster to make a
negative mold, seal up the holes, lubricate the inside and then pour about
3/4 gal plaster mix into the negative. Then letting it set for 24 hours and
peeling it out of the negative mold.

Both methods allow for a mask that fits the face of the model, but not
anyone else's. The masks that get built can be shaped with protrusions and
etc. quite easily on the face mold with a little planning. I cover my masks
with fabric rather than paint b/c I think it looks better and it make things
easier for me to sew my decorations on as much as possible (I try to use
only a minimum of glue.).

The pro shops first make the entire mask in solid clay, so their original
bust can weigh up to about 5-10lbs. Once the sculpture is complete, it is
encased in a special box and plaster is poured in to fill the whole box.
When the plaster has set, the plaster box is removed and the clay cleaned
out, revealing a negative in the block.  They then pour a glue and paper mix
in to the negative and press it into the negative form with their hands and
I suspect a special tool that allows them to press a uniform backing into
the mask.  Once the mask has set, it is popped out, trimmed and decorated.  

If you would like, I can send you a handout on the plaster and decoration
technique that I use.  I've got them drafted up already for the workshops,
so sending the file isn't a big deal.

Patches

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Subject: Re: [h-cost] quickie textile guide
Date: Thu, 30 Mar 2006 12:27:27 +1100
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I'd add Taffeta to the list of silk fabrics and add a warning that most of 
the time if you see satin, taffeta, velvet etc. in your local fabric shop 
they aren't actually silk and you must check the labels.
Elizabeth
----- Original Message ----- 
From: "Althea Turner" <althea@alfalfapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 29, 2006 7:23 AM
Subject: [h-cost] quickie textile guide


> Hey all,
> I have a friend who is not allowed to go to the fabric store without  a 
> keeper.  :D She knows nothing about fabrics and likes shiny bright  SHINY 
> fabrics, which are rarely a natural fiber.  So with her in  mind, I am 
> working on a quick guide that she, and others, can print  out.  I am sure 
> I am leaving out important information so if you  could check it out and 
> let me know, I'd greatly appreciate it. The  intended audience is 
> re-enactors without much experience with fabrics  or sewing.
>
> http://www.alfalfapress.com/dress/quickie_textile_guide.html
>
> This is my first draft, so any input would be appreciated!! Thanks!!
> Althea
>
>
> Althea Turner
> althea@alfalfapress.com
>
> "Ignorant themselves of the forces of nature and wanting to have  company 
> in their ignorance, they don't want people to look into  anything; they 
> want us to believe like peasants and not ask the  reasons behind things."
> William of Conches, 12th century
>
>
> _______________________________________________
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>
>
>
>
> -- 
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> 

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At 04:20 PM 3/29/2006, you wrote:
> >>Call your local state historical park. Most of the volunteer assns are
> >>very helpful to newcomers. ... Many will have reference lists.
>
> >Or you can call Sutter's Fort in Sacramento.  (I'm a docent there.)
> >Joan Jurancich
>
>Why didnt I think of that?!  Yes, Sutter's has absolutely one of the
>best re-enactment programs in the state. They do an awesome job. When
>I was head of the volunteer assn at San Juan Bautista, the Sutter's
>Fort team courteously hosted (and hostessed) 4 of us to a wonderful
>"backstage" tour. They were very warm & sharing of all their info &
>sources.
>
>IIRC, One of the most interesting things they do is to all choose
>exactly one day that they are recreating, so if it's really 30 Mar,
>then it will be 30 Mar 1848.  This means they're all talking about the
>same local events, fashions, people, & world news as they speak to
>visitors & each other.  It's a great experience.
>--cin
>Cynthia Barnes
>CinBarnes@gmail.com

Actually, we are reenacting 1846, but we do try to keep to the 
calendar date.  Thanks for the kind words.


Joan Jurancich
joanmj@surewest.net 

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Don't you find the plaster extremely uncomfortable on the face.  It gets very hot as it cures.  I do stage/film makeup and we use a totally different material to make up the original cast on the face.  I can't imagine having that hot plaster on my face for the time it takes to set.  Of course the professional method IS expensive and time consuming.
Lalah, Never give up, Never surrender

--- raelee@rachelsampsel.com wrote:

From: "raelee" <raelee@rachelsampsel.com>
To: <h-costume@indra.com>
Cc:
Subject: [h-cost] Venetian Masking
Date: Wed, 29 Mar 2006 18:30:15 -0700

Message: 3
Date: Tue, 28 Mar 2006 14:47:21 -0800
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
Subject: RE: [h-cost] Venetian research question - need help
To: "'Historical Costume'" <h-costume@indra.com>
Message-ID: <001b01c652b9$93486360$0300a8c0@bob3pc>
Content-Type: text/plain;	charset="us-ascii"

I'm curious. Are you making a plaster mold to then cover in whatever the
mask is made of? What do you use for the base (to build upon)?
Sharon, who has made masks, with difficulty, because I didn't have a good
base :)

Patches writes:

I've got 2 methods and neither are what the pro shops use.

Method 1 that I show folks is to build the mask directly on the face using
plaster. This obviously requires a partner. 
Method 2 is like method 1 only a encase the face in plaster to make a
negative mold, seal up the holes, lubricate the inside and then pour about
3/4 gal plaster mix into the negative. Then letting it set for 24 hours and
peeling it out of the negative mold.

Both methods allow for a mask that fits the face of the model, but not
anyone else's. The masks that get built can be shaped with protrusions and
etc. quite easily on the face mold with a little planning. I cover my masks
with fabric rather than paint b/c I think it looks better and it make things
easier for me to sew my decorations on as much as possible (I try to use
only a minimum of glue.).

The pro shops first make the entire mask in solid clay, so their original
bust can weigh up to about 5-10lbs. Once the sculpture is complete, it is
encased in a special box and plaster is poured in to fill the whole box.
When the plaster has set, the plaster box is removed and the clay cleaned
out, revealing a negative in the block.  They then pour a glue and paper mix
in to the negative and press it into the negative form with their hands and
I suspect a special tool that allows them to press a uniform backing into
the mask.  Once the mask has set, it is popped out, trimmed and decorated.  

If you would like, I can send you a handout on the plaster and decoration
technique that I use.  I've got them drafted up already for the workshops,
so sending the file isn't a big deal.

Patches

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References: <Jz6A87Cz9uIEJwxv@montgomerie.demon.co.uk><BAY113-F22886F9D47B710E3B39018D3D30@phx.gbl><6.2.3.4.0.20060328211432.01dfa3c0@127.0.0.1><010f01c652dd$ee4fe020$06bfa6d8@pavilion>
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Subject: Re: [h-cost] Images of 16th century ladies.
Date: Wed, 29 Mar 2006 20:39:30 -0700
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Dunno, myself, but the original poster said something about not wanting a
closed neckline? I couldn't really tell exactly to what they were referring.
--Sue

----- Original Message -----
From: "Joan Jurancich" <joanmj@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, March 28, 2006 10:29 PM
Subject: Re: [h-cost] Images of 16th century ladies.


> Why would the "closed up neckline" be 'verboten'?  I wear a
> high-bodied gown (doublet style) closed all the way up.  Made with
> the proper fabrics (linen for the shift, etc.), it's perfectly
comfortable.
>
> Joan in Sacramento, CA
>
> At 07:07 PM 3/28/2006, you wrote:
> >I'd say a doublet would be your best choice, if it didn't fall into the
> >verboten "closed up neckline" category.
> >--Sue
> >
> >----- Original Message -----
> >From: "Suzi Clarke" <suzi@suziclarke.co.uk>
> >To: "Historical Costume" <h-costume@indra.com>
> >Sent: Tuesday, March 28, 2006 1:22 PM
> >Subject: [h-cost] Images of 16th century ladies.
> >
> >
> > >
> > > I have just spent heaven knows how long trying to find an image of an
> > > English or French woman on the 1570's, who does not have either a
> > > ruff, or a partlet, or a closed up neckline.
> > >
> > > I don't want Italian - I have Moda a Firenze. (and want to make
> > > something from it, but it would not be right - boo!) I have checked
> > > the two Clouet databases in the French "Joconde" system, which are
> > > drool worthy, but unhelpful. I have checked www.marquise.de, "My
> > > Gracious Silence", Vecellio et al, plus postcards and books till I
> > > don't know what I am seeing.
> > >
> > > I have to make a 6th dress for the court of Mary Queen of Scots, and
> > > have set a date, arbitrarily, for about 1573 for them all. (5 years
> > > either way would be fine.) So far all my dresses have partlets, worn
> > > in various ways, both white and black, and ruffs. I am desperate to
> > > find something accurate but different. Any help out there?  I know a
> > > lot of you are interested in this period.
> > >
> > > Suzi
>
> _______________________________________________
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> h-costume@mail.indra.com
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Masks and Masking in Medieval and Early Tudor England by Meg Twycross 
and Sarah Carpenter has a HUGE (30 pages long!) bibliography.  They 
constantly reference masking on the continent as a source because it 
took longer to catch on in England.  I would bet a confectionery that 
you could find what you are looking for there. 
I'd love to have a copy of your hand out if you are sharing!

Sg


raelee wrote:
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Venetian Masking
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Sorry if I'm confused. Is your mask made of plaster? Or just the mold? When
I make masks, I use alternate layers of cheesecloth and paper, in glue. It
makes a lightweight, slightly flexible mask. Then I glue pieces of leather
at contact spots for comfort. Does this sound like what you do?
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of raelee
Sent: Wednesday, March 29, 2006 5:30 PM
To: h-costume@indra.com
Subject: [h-cost] Venetian Masking


Message: 3
Date: Tue, 28 Mar 2006 14:47:21 -0800
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
Subject: RE: [h-cost] Venetian research question - need help
To: "'Historical Costume'" <h-costume@indra.com>
Message-ID: <001b01c652b9$93486360$0300a8c0@bob3pc>
Content-Type: text/plain;	charset="us-ascii"

I'm curious. Are you making a plaster mold to then cover in whatever the
mask is made of? What do you use for the base (to build upon)? Sharon, who
has made masks, with difficulty, because I didn't have a good base :)

Patches writes:

I've got 2 methods and neither are what the pro shops use.

Method 1 that I show folks is to build the mask directly on the face using
plaster. This obviously requires a partner. 
Method 2 is like method 1 only a encase the face in plaster to make a
negative mold, seal up the holes, lubricate the inside and then pour about
3/4 gal plaster mix into the negative. Then letting it set for 24 hours and
peeling it out of the negative mold.

Both methods allow for a mask that fits the face of the model, but not
anyone else's. The masks that get built can be shaped with protrusions and
etc. quite easily on the face mold with a little planning. I cover my masks
with fabric rather than paint b/c I think it looks better and it make things
easier for me to sew my decorations on as much as possible (I try to use
only a minimum of glue.).

The pro shops first make the entire mask in solid clay, so their original
bust can weigh up to about 5-10lbs. Once the sculpture is complete, it is
encased in a special box and plaster is poured in to fill the whole box.
When the plaster has set, the plaster box is removed and the clay cleaned
out, revealing a negative in the block.  They then pour a glue and paper mix
in to the negative and press it into the negative form with their hands and
I suspect a special tool that allows them to press a uniform backing into
the mask.  Once the mask has set, it is popped out, trimmed and decorated.  

If you would like, I can send you a handout on the plaster and decoration
technique that I use.  I've got them drafted up already for the workshops,
so sending the file isn't a big deal.

Patches

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Can silk taffeta be washed? I tried to wash the fake stuff and it went limp.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Elizabeth Walpole
Sent: Wednesday, March 29, 2006 5:27 PM
To: Historical Costume
Subject: Re: [h-cost] quickie textile guide


I'd add Taffeta to the list of silk fabrics and add a warning that most of 
the time if you see satin, taffeta, velvet etc. in your local fabric shop 
they aren't actually silk and you must check the labels. Elizabeth
----- Original Message ----- 
From: "Althea Turner" <althea@alfalfapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, March 29, 2006 7:23 AM
Subject: [h-cost] quickie textile guide


> Hey all,
> I have a friend who is not allowed to go to the fabric store without  
> a
> keeper.  :D She knows nothing about fabrics and likes shiny bright  SHINY 
> fabrics, which are rarely a natural fiber.  So with her in  mind, I am 
> working on a quick guide that she, and others, can print  out.  I am sure 
> I am leaving out important information so if you  could check it out and 
> let me know, I'd greatly appreciate it. The  intended audience is 
> re-enactors without much experience with fabrics  or sewing.
>
> http://www.alfalfapress.com/dress/quickie_textile_guide.html
>
> This is my first draft, so any input would be appreciated!! Thanks!! 
> Althea
>
>
> Althea Turner
> althea@alfalfapress.com
>
> "Ignorant themselves of the forces of nature and wanting to have  
> company
> in their ignorance, they don't want people to look into  anything; they 
> want us to believe like peasants and not ask the  reasons behind things."
> William of Conches, 12th century
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
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>
>
>
> --
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> 

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Date: Wed, 29 Mar 2006 23:01:06 -0800
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] talk about tight lacing
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>What do you say, a 15 inch waist:
>http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
>I dont like it, its two bizarre.

Can somebody send me this image?  There's no way my computer can retrieve it.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Monica, presumably you know the Georges de la Tour painting "Le nouveau-ne"? Can only find a rather poor version on the Web http://www.isabel.com/gallery/reprofr/l/latour/index.html 


Kate Bunting
Librarian and 17th century reenactor


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Lovely work Kathy, thank you.
Sg
Kathy Page wrote:

>Hi Rachel, welcome to the list. :-)
>
>
>http://outoftheattic.homeip.net/Venetian_Masks.html
>  
>

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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Showing off my 18th century work
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If anyone is interested, this website, a newly revised one, has a 
large number of my 18th century costumes in its gallery. www.minuetcompany.org

   I did not make clothes for the two portly gentlemen, nor the lady 
top right picture, and bottom left figure, but did make virtually all 
the rest, from the skin out. (Except for any garments worn on the 
lower part of the body and otherwise known  as knickers, briefs, 
panties stockings, hose or shoes etc!)

Suzi


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Subject: Re: [h-cost] Showing off my 18th century work
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In a message dated 3/30/2006 8:38:17 A.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

but did  make virtually all 
the rest, from the skin out. (Except for any garments  worn on the 
lower part of the body and 


Most impression.  When do you sleep?
 
Ann Wass
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Date: Thu, 30 Mar 2006 14:52:37 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Showing off my 18th century work
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At 14:46 30/03/2006, you wrote:
>
>In a message dated 3/30/2006 8:38:17 A.M. Eastern Standard Time,
>suzi@suziclarke.co.uk writes:
>
>but did  make virtually all
>the rest, from the skin out. (Except for any garments  worn on the
>lower part of the body and
>
>
>Most impression.  When do you sleep?



In front of the TV mostly! I didn't make them all at once, but over a 
period of time. The current job, also 18th century, is giving me 
sleepless nights though - will post pictures when I am done as it has 
to be the stupidest job ever, apart from making costumes for wolves, 
also 18th century!

Suzi


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Showing off my 18th century work
Date: Thu, 30 Mar 2006 09:52:23 -0500
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Status: RO

Gorgeous!

Thanks for sharing!!!

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 30, 2006, at 8:46 AM, AnnBWass@aol.com wrote:

>
> In a message dated 3/30/2006 8:38:17 A.M. Eastern Standard Time,
> suzi@suziclarke.co.uk writes:
>
> but did  make virtually all
> the rest, from the skin out. (Except for any garments  worn on the
> lower part of the body and
>
>
> Most impression.  When do you sleep?
>
> Ann Wass
> _______________________________________________
> 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] Showing off my 18th century work
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Suzi Clarke wrote:

> 
> If anyone is interested, this website, a newly revised one, has a large 
> number of my 18th century costumes in its gallery. www.minuetcompany.org

Wow--that's all I can say--wow!

- Hope
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Subject: Re: [h-cost] Showing off my 18th century work
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Status: RO

As if anyone was not interrested? You must be joking!
What lovely costumes, thanks for sharing.
I absolutely wont come with any critisism at all, but why does the gentlemen 
not button the bottom of their waistcoats?
I think i recognise one of the ladies, i have seen at the ball in Bath, 
could this be right?
Thanks and you should be proud ................

Bjarne
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 30, 2006 3:37 PM
Subject: [h-cost] Showing off my 18th century work


>
> If anyone is interested, this website, a newly revised one, has a large 
> number of my 18th century costumes in its gallery. www.minuetcompany.org
>
>   I did not make clothes for the two portly gentlemen, nor the lady top 
> right picture, and bottom left figure, but did make virtually all the 
> rest, from the skin out. (Except for any garments worn on the lower part 
> of the body and otherwise known  as knickers, briefs, panties stockings, 
> hose or shoes etc!)
>
> Suzi
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Lovely costumes, Suzi!
I'm curious about the very shiny fabric of the lilac gown. It looks much glossier than the satin ones. Is it a period fabric?

Kate Bunting
Librarian and 17th century reenactor

>>> suzi@suziclarke.co.uk 30/03/2006 14:37 >>>

If anyone is interested, this website, a newly revised one, has a 
large number of my 18th century costumes in its gallery. www.minuetcompany.org 

   I did not make clothes for the two portly gentlemen, nor the lady 
top right picture, and bottom left figure, but did make virtually all 
the rest, from the skin out. (Except for any garments worn on the 
lower part of the body and otherwise known  as knickers, briefs, 
panties stockings, hose or shoes etc!)

Suzi


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From h-costume-bounces@indra.com  Thu Mar 30 10:15:33 2006
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From: Hope Greenberg <hope.greenberg@uvm.edu>
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Subject: [h-cost] linen sale "head's up"
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For those of you who like to line with lightweight linen, there are two 
colors on sale at fabric.com: tan and khaki, $3.75/yd
http://www.fabric.com/clearance-fabric-fashion-fabric-clearance-47-discount-fabric-30-off-apparel-fabrics.aspx


Lots of silk organzas, too...

- Hope
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Date: Thu, 30 Mar 2006 18:34:10 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Showing off my 18th century work
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At 16:14 30/03/2006, you wrote:
>Lovely costumes, Suzi!
>I'm curious about the very shiny fabric of the lilac gown. It looks 
>much glossier than the satin ones. Is it a period fabric?


No it is not. Bought by the lady herself, it is a polyester taffeta, 
which does not photograph well, although in daylight, and ordinary 
electric light it looks fine. You do what you can with what you are 
brought. (Or you bully them into wearing "real" fabrics, which I prefer to do!)

The others are either real silk taffeta, or yarn dyed acetate 
taffeta, which wears remarkably well, and looks almost (well to a 
non-historian's eyes) like the real thing, while being a hell of a lot cheaper.

Suzi

>Kate Bunting
>Librarian and 17th century reenactor
>
> >>> suzi@suziclarke.co.uk 30/03/2006 14:37 >>>
>
>If anyone is interested, this website, a newly revised one, has a
>large number of my 18th century costumes in its gallery. 
>www.minuetcompany.org
>
>    I did not make clothes for the two portly gentlemen, nor the lady
>top right picture, and bottom left figure, but did make virtually all
>the rest, from the skin out. (Except for any garments worn on the
>lower part of the body and otherwise known  as knickers, briefs,
>panties stockings, hose or shoes etc!)
>
>Suzi
>
>
>_______________________________________________
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>http://mail.indra.com/mailman/listinfo/h-costume
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>______________________________________________________________________
>This email has been scanned by the MessageLabs Email Security System.
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>
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Date: Thu, 30 Mar 2006 18:37:55 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Showing off my 18th century work
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At 16:13 30/03/2006, you wrote:
>As if anyone was not interrested? You must be joking!
>What lovely costumes, thanks for sharing.
>I absolutely wont come with any critisism at all, but why does the 
>gentlemen not button the bottom of their waistcoats?
>I think i recognise one of the ladies, i have seen at the ball in 
>Bath, could this be right?
>Thanks and you should be proud ................

The reason they are not buttoned is a purely practical one - they no 
longer fit. I made some of these costumes anything up to 15 years 
ago, and the gentlemen have allowed their appetites to overcome their 
desire to look good!! I have one of them on the "to do when he gets 
around to it" list for a replacement.

You may well have met any of these people at the Bath Ball - the Bath 
group is an off shoot of the Covent Garden Minuet Company.

Suzi



>>If anyone is interested, this website, a newly revised one, has a 
>>large number of my 18th century costumes in its gallery. www.minuetcompany.org
>>
>>   I did not make clothes for the two portly gentlemen, nor the 
>> lady top right picture, and bottom left figure, but did make 
>> virtually all the rest, from the skin out. (Except for any 
>> garments worn on the lower part of the body and otherwise 
>> known  as knickers, briefs, panties stockings, hose or shoes etc!)
>>
>>Suzi
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
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>
>
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>


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Message: 2
Date: Wed, 29 Mar 2006 21:53:42 -0800
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
Subject: RE: [h-cost] Venetian Masking
To: "'Historical Costume'" <h-costume@indra.com>
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Sorry if I'm confused. Is your mask made of plaster? Or just the mold? When
I make masks, I use alternate layers of cheesecloth and paper, in glue. It
makes a lightweight, slightly flexible mask. Then I glue pieces of leather
at contact spots for comfort. Does this sound like what you do?
Sharon

*********************
Patches writes:

No.  I literally make the mask form or frame of plaster and cloth.  When
dry, I then cover the form in another piece of cloth that I have choosen
as my "backround".  I then decorate the mask however I want and then slap
a felt piece of cloth on the interior of the mask to cushion the face.

It doesn't have the flexibility of your style, and will only fit the face
of the original model comfortably, but it doesn't loose the shape and
decoration display like some of the flexible masks do.  It's also a little
heavier, probably.

But I will have to try your idea on the castings of my face to see how it
works.  It sounds interesting.

I'll be sending the handouts via my work account, because my personal one
right now is giving me attitude about attachments.
Patches
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Subject: [h-cost] Regency Help - THANKS!
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I wanted to thank everyone who responded to my plea for assistance with the regency robe (?) from P&P. I'll probably be asking more questions as I'm really not familiar at all with that period of costuming and don't really know where to start. I was hoping to find a pattern for the robe from one of the existing pattern companies as I'm not too good at scaling patterns from a book.

Bjarne - you mentioned that you had made a dress similar to this one - any chance of seeing pictures? I would love to see your version as I am sure it is stunning (like everything else you make)!

Thanks,
Wendi

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Hi, All. Just a side note, the thrums don't need to be knotted on the 
outside, they just need to be hooked into the knitted goods like the 
knot on a Turkish carpet. In fact, one of the alternate names of a 
blanket with a thrummed outside (looks like a bathroom floormat) is a 
"rugg". They are noted in inventories from Plimoth Plantation circa 
1620. Irish mantles from the late 16th C. had the same sort of finish to 
them, to help shed off moisture and keep in warmth, I suppose. I believe 
Moryson referred to them as "Irish rugges" . Mike T.


>
> Thrums are little bits of wool knotted together.  If you knit this up, 
> and put all the knotted ends to the outside, it does look like fur.
>
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Subject: Re: [h-cost] Regency Help - THANKS!
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Hi Wendi,
It was many years ago i made that dress, and i am sorry to say, that i dont 
have any pictures of it. But i can tell you that it is very easy to make it. 
The two front pieces, are having deep pleats, that goes back to the 
shoulders. The two underbust straps closes the dress in the front. If you 
have a little experience in draping, you could drape it from looking at the 
pattern in the book.
In my youth before i went to the design school, i was helping some people 
making an old abandoned mannor house into a museum. The last inhabitant died 
in 1829. She was born into the 18th century and would in her period have 
worn this style of dress. Therefore i made this dress for a lady who was 
living at the manor house. She and her husband was behind the opening of the 
museum. It was my intention to make her wear this dress from time to time, 
when visitors came to the manor house, but i never got any pictures from 
her, unfortunately.
If you look at the dvd, you can have some closeup pics of it, also in Sense 
and Sensibility Emma Thompson wears it.

Bjarne

----- Original Message ----- 
From: <wendirae@bellsouth.net>
To: <h-costume@mail.indra.com>
Sent: Thursday, March 30, 2006 11:17 PM
Subject: [h-cost] Regency Help - THANKS!


>I wanted to thank everyone who responded to my plea for assistance with the 
>regency robe (?) from P&P. I'll probably be asking more questions as I'm 
>really not familiar at all with that period of costuming and don't really 
>know where to start. I was hoping to find a pattern for the robe from one 
>of the existing pattern companies as I'm not too good at scaling patterns 
>from a book.
>
> Bjarne - you mentioned that you had made a dress similar to this one - any 
> chance of seeing pictures? I would love to see your version as I am sure 
> it is stunning (like everything else you make)!
>
> Thanks,
> Wendi
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Message: 11
Date: Wed, 29 Mar 2006 19:22:07 -0800 (PST)
From: " Lalah" <lalahcatlady@NETSCAPE.COM>
Subject: Re: [h-cost] Venetian Masking

Don't you find the plaster extremely uncomfortable on the face.  It gets
very hot as
it cures.  I do stage/film makeup and we use a totally different material
to make up
the original cast on the face.  I can't imagine having that hot plaster on
my face
for the time it takes to set.  Of course the professional method IS
expensive and
time consuming.
Lalah, Never give up, Never surrender
*******************

Patches Writes:

Actually, while the plaster is exothermic as it dries, it really isn't
that bad.  It feels more like a warm compress than a burning sensation - I
don't know of a case where someone used the ordinary plaster that you can
get at a hobby or craft store and got burned by it. I've heard of
impromptu waxing results because they didn't grease their face first, but
no burns. I've done this on a lot of folks and no one has come back
screaming about burns or bring uncomfortably hot.

The uncomforatble part comes in when water drips into the corner of your
eye or in your ear or something. It helps to have a napkin handy to wipe
that away. Or if you're claustrophobic.

I learned to make the molds from a theatre professor of mine and then a
few friends later on. A few Art classes and so forth.

For pro-theatre, there are far easier tools to use, Unfortunately, getting
the tools and pro-latex is a little difficult unless you've got a theatre
buying it for you. (I fell out of my theatre rat tendencies while still in
college and confronted with the politics of the professional scene. It
still hurts to watch a show that I haven't worked on.)

But anyway, masks are a hobby that I've piddled with off and on and
somehow I think folks are assuming I'm some kind of authority on the
subject out here (NOT!). Hence, the help request.

Patches


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Date: Thu, 30 Mar 2006 15:10:19 -0800 (PST)
From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] talk about tight lacing
To: Historical Costume <h-costume@indra.com>
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If you Google "15 inch waist", you may see any number
of images of too-narrow waists.

Ann in CT

--- Carolyn Kayta Barrows <kayta@frys.com> wrote:

> 
> >What do you say, a 15 inch waist:
>
>http://www.aftonbladet.se/atv/player.html?catID=10&clipID=7149
> >I dont like it, its two bizarre.
> 
> Can somebody send me this image?  There's no way my
> computer can retrieve it.
> 
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               ////\\\\
>              ////-@@\\\
>             ((((   7 )))
>              )((  <> ))(
>               * )   ( *
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> 
> _______________________________________________
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> 


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From: "Anne Moeller" <ladyanne@quik.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Showing off my 18th century work
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>In front of the TV mostly! I didn't make them all at once, but over a 
>period of time. The current job, also 18th century, is giving me 
>sleepless nights though - will post pictures when I am done as it has 
>to be the stupidest job ever, apart from making costumes for wolves, 
>also 18th century!


WOLVES!!!!  OK, I MUST hear about that when I get there:)
Anne

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Subject: RE: [h-cost] venetian masking
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It's also inexpensive. I generally do only a few layers-paper, cloth and
paper again. I use vaseline on the mold, so I put cleaner paper on the
inside, however with a mold release spray, maybe I wouldn't have to do that.
I build details with the paper.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Rachel Sampsel
Sent: Thursday, March 30, 2006 1:01 PM
To: h-costume@indra.com
Subject: [h-cost] venetian masking


Message: 2
Date: Wed, 29 Mar 2006 21:53:42 -0800
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
Subject: RE: [h-cost] Venetian Masking
To: "'Historical Costume'" <h-costume@indra.com>
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Sorry if I'm confused. Is your mask made of plaster? Or just the mold? When
I make masks, I use alternate layers of cheesecloth and paper, in glue. It
makes a lightweight, slightly flexible mask. Then I glue pieces of leather
at contact spots for comfort. Does this sound like what you do? Sharon

*********************
Patches writes:

No.  I literally make the mask form or frame of plaster and cloth.  When
dry, I then cover the form in another piece of cloth that I have choosen as
my "backround".  I then decorate the mask however I want and then slap a
felt piece of cloth on the interior of the mask to cushion the face.

It doesn't have the flexibility of your style, and will only fit the face of
the original model comfortably, but it doesn't loose the shape and
decoration display like some of the flexible masks do.  It's also a little
heavier, probably.

But I will have to try your idea on the castings of my face to see how it
works.  It sounds interesting.

I'll be sending the handouts via my work account, because my personal one
right now is giving me attitude about attachments. Patches
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I'm ready to cut the fabric and just realized that I don't know how it is closed. Does it open in the front with a front stomacher or does it close somewhere else and hidden? Can anyone suggest how to place an opening in this gown? I've seen it done both ways in dresses. This is for a 7 year old so it has to be the simplest way. I just want it to be right.
Otheriwse the parts are going fine. Body, farthingale and pettycoat done. Fabric for the sleeves ready to be made as well. Beads and ideas in the planning stage. All seems to be proceeding well... then I think too much and get in trouble.
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<<I'm ready to cut the fabric and just realized that I don't know how it is
closed. Does it open in the front with a front stomacher or does it close
somewhere else and hidden? Can anyone suggest how to place an opening in
this gown? I've seen it done both ways in dresses. This is for a 7 year old
so it has to be the simplest way. I just want it to be right.>>

As the skirt is open in the front I'd suggest making it close in front with
a stomacher/placard over it. It doesn't really seem logical to have a bodice
open somewhere else becaue it means the skirt has an extra opening somewhere
else.
http://www.ninyamikhaila.com/tower.html
http://www.ninyamikhaila.com/Princesselizabeth.html
It really does give a good smooth look.

michaela
http://glittersweet.com
the temptation to make a tudor gown is growing...



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	<005001c6545d$fc251c20$0301010a@michaela>
Subject: Re: [h-cost] Princess Elizabeth's garb
Date: Thu, 30 Mar 2006 21:47:54 -0500
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Status: RO

I saw Ninya site and asked her several questions already. I just wanted to 
make sure there was no alternate way to do it... and I pick the wrong one. 
Thanks for the advice. I think I've over researched this garb and made 
myself nervous about making it.
I made the corset/bosy for my daughter of lined. that studff is wonderful to 
hand sew. I'm making the complete thing with hand sewn parts. I may never do 
it again but well worth the time. I like handsewing. Sewing all those 
channels on the corset was not fun but I learned more that way. When I make 
mine, I need to measure more fully. I had some that were too wide and some 
too narrow. I need to be more consistant. It was the first one I've ever 
made. It looks wonderful. I'll try to post a picture when I can.
I had decided to use the Elenor de Toledo dress for mine but an liking the 
early Tudors more now that I've found so many with the turned-up sleeves. I 
think it would look better if we have matching period gown since we're going 
together.
Elizabeth wants me to play her mom. I can do that.

----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, March 30, 2006 7:56 PM
Subject: Re: [h-cost] Princess Elizabeth's garb


> <<I'm ready to cut the fabric and just realized that I don't know how it 
> is
> closed. Does it open in the front with a front stomacher or does it close
> somewhere else and hidden? Can anyone suggest how to place an opening in
> this gown? I've seen it done both ways in dresses. This is for a 7 year 
> old
> so it has to be the simplest way. I just want it to be right.>>
>
> As the skirt is open in the front I'd suggest making it close in front 
> with
> a stomacher/placard over it. It doesn't really seem logical to have a 
> bodice
> open somewhere else becaue it means the skirt has an extra opening 
> somewhere
> else.
> http://www.ninyamikhaila.com/tower.html
> http://www.ninyamikhaila.com/Princesselizabeth.html
> It really does give a good smooth look.
>
> michaela
> http://glittersweet.com
> the temptation to make a tudor gown is growing...
>
>
>
> -- 
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> _______________________________________________
> h-costume mailing list
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> 
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Subject: [h-cost] French site help dating
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Hello all,

While I took French classes for two years, that was many years ago, and my 
French simply is lacking.

Anyway, I found this lovely site that has images I had never seen before.
http://gallica.bnf.fr/Catalogue/NoticesInd/MAN01080.htm
I am wondering what time frame these images came from, but my searches on 
the website is badly hampered by my lack of understanding the French 
language. And babel fish is not a help.

Would anyone know what specific time frame these are from other than 16th 
century (I kinda get that), and perhaps any further information, in 
English? and be willing to share that with me?

Thank you,

Kimiko

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Date: Thu, 30 Mar 2006 19:15:10 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] French site help dating
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Status: RO

At 06:56 PM 3/30/2006, you wrote:
>Hello all,
>
>While I took French classes for two years, that was many years ago, 
>and my French simply is lacking.
>
>Anyway, I found this lovely site that has images I had never seen before.
>http://gallica.bnf.fr/Catalogue/NoticesInd/MAN01080.htm
>I am wondering what time frame these images came from, but my 
>searches on the website is badly hampered by my lack of 
>understanding the French language. And babel fish is not a help.
>
>Would anyone know what specific time frame these are from other than 
>16th century (I kinda get that), and perhaps any further 
>information, in English? and be willing to share that with me?
>
>Thank you,
>
>Kimiko

The style of clothing seems to be early 16th century, say before 
1530.  Think young Henry VIII.


Joan Jurancich
joanmj@surewest.net 

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Kimiko wrote:
> Anyway, I found this lovely site that has images I had never seen before.
> http://gallica.bnf.fr/Catalogue/NoticesInd/MAN01080.htm
> Would anyone know what specific time frame these are from other than 16th 
> century (I kinda get that), and perhaps any further information, in 
> English? and be willing to share that with me?


The images on the page are from Ovid's _Heroides_, which is written in the 
form of letters from famous women (mostly mythological) of antiquity to 
their lovers.  IIRC, all the affairs ended badly.  Anyway, the illuminated 
manuscript is MS Francais 874, held in the Bibliotheque Nationale de France 
in Paris, and it is believed to have been created sometime between 1498 and 
1502.

                   -Helen/Aidan

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Bjarne
   
  Who do you buy silk and gold embroidery stuff from in Denmark apart from Broderi Antik?

Another question. I am looking for the english word for "kopper" the small gold button things used in gold embroidery, been looking at all my sources but so far no luck. It is the ones where you have to make the holes for sewing throug yourself.
   
  Tania (Denmark)

		
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In a message dated 3/31/2006 3:17:18 A.M. Eastern Standard Time,  
tania_gr17@yahoo.com writes:

the  small gold button things used in gold embroidery, been looking at all my 
 sources but so far no luck. It is the ones where you have to make the holes  
for sewing throug yourself.




Do you mean "sequin"?  
 
Ann Wass
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Hi Tania,
Broderi Antik has some goldwork supplies if you ask her. It is not on 
display. I really dont know what kopper is, i dont think i have heard that 
before. You dont mean spangels do you? Spangels you get in silver and gold, 
and many sizes. Other goldwork supplies i have got from Hedgework Handworks, 
here i also got some dyed silk chenille threads. Undyed silk chenille 
threads i get from:
http://www.aurorasilk.com/index.html.
I mostly use Eterna Stranded silk floss wich i get from:
http://threadexpress.com/default.asp and for extra fine highlights i use 
Pipers silk thread:
http://www.pipers-silks.com/
And Japanese flat silk thread:
http://www.japaneseembroideryuk.com/
Finally i also use some of the huge range of  Mulberry silk:
http://www.mulberrysilks-patriciawood.com/silktopicazalea.htm
Denmark is a poor country range wise, you cant get any silk embroidery 
thread here! Håndarbejdets fremme shop on Strøget used to have some silk, 
but it was twisted silk, wich i rarely use, it looses the shine, when it get 
twisted.

Bjarne


----- Original Message ----- 
From: "Tania Gruning" <tania_gr17@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, March 31, 2006 10:15 AM
Subject: Re: [h-cost] Regency Help - THANKS!


> Bjarne
>
>  Who do you buy silk and gold embroidery stuff from in Denmark apart from 
> Broderi Antik?
>
> Another question. I am looking for the english word for "kopper" the small 
> gold button things used in gold embroidery, been looking at all my sources 
> but so far no luck. It is the ones where you have to make the holes for 
> sewing throug yourself.
>
>  Tania (Denmark)
>
>
> ---------------------------------
> New Yahoo! Messenger with Voice. Call regular phones from your PC and save 
> big.
> _______________________________________________
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> h-costume@mail.indra.com
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<< Clothes That Fit the Woman, Not the Store
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By MICHAEL BARBARO

Published: March 31, 2006


It is a noble pursuit that has long eluded the clothing industry: a 
standardized sizing system that would allow consumers to navigate the 
frustrating world of off-the-rack apparel, where size varies from 
retailer to retailer.
  

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Finding Her Perfect Fit

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A Woman, Full of Hope, in the Dressing Room (March 31, 2006)
  

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A Benefit for Insurers


But a closely watched experiment, under way at two national apparel=20
companies, highlights just how hard it may be to pull off.

One obstacle is that retailers, ever eager to distinguish themselves,=20
are loath to share anything, even if it might help their customers.

Fit Technologies, which is owned by a Dallas entrepreneur, has=20
developed a sizing system based on three body types that represent the=20
most common female figures. Clothing companies that adopt it produce=20
three versions of every size, one for each body shape.

Jones Apparel and Garfield & Marks quietly applied the system to a=20
handful of lines, and three retailers, Macy's, Nordstrom and Q.V.C.,=20
the television shopping network, agreed to carry limited quantities of=20
the products.

Despite the endorsement from big-name companies, the system faces=20
enormous challenges. Retailers that commit to it must find space for=20
more merchandise, train workers to understand the new sizes and explain=20
the new system to customers =97 a struggle for stores that already have=20
few employees on the sales floor.

Then there is the reality, however counterintuitive it may be, that=20
retailers and clothing makers thrive off sizing confusion. Consumers=20
who find a brand that fits are likely to stick with it and a standard=20
sizing system would encourage them to visit other stores.

So perhaps it is unsurprising that the sizing system, called Fitlogic,=20
has hit some bumps in the road. Macy's, which stocked a single style of=20
Jones New York pants made with the Fitlogic sizing system, said it=20
would cease carrying the line. And Nordstrom, which is carrying a=20
single style of pants from Garfield & Marks, said it had no plans to=20
expand use of the sizing system.

Both companies declined to disclose sales figures for the clothes using=20
the Fitlogic sizing system, as did Q.V.C. and Jones Apparel, with=20
executives saying it was too early to tell.

Nancy Jones, vice president for marketing at Garfield & Marks, said=20
customer feedback on the Fitlogic system was positive but that "we have=20
not figured out how to get this concept out to our stores in a fashion=20
they can accept financially and commit to in terms of space." There is=20
little doubt that consumers would benefit from Fitlogic, or any other=20
standardized sizing system, if it were widely adopted. Size, by=20
definition a standardized measure, has become one of the most flexible=20
concepts in retailing.

The creation of vanity sizes =97 intentionally smaller than an objective=20
size, to flatter the buyer =97 has introduced pure guesswork into=20
shopping. A size 10 from one clothing manufacturer is a size 8 from=20
another and a 12 from still another.

According to a survey of 84,000 women, conducted by the NPD Group, a=20
market research firm, 36 percent return a product every year because it=20
does not fit. Those returns equal 12 percent of all clothing sales.

As a result, industry executives say, women shop at fewer stores and=20
buy fewer clothes than they would if sizing were more transparent.

Julia Pierson, 46, from Baltimore, buys pants from one company, Jones=20
New York, because it is the only brand that produces a size 12 that=20
fits her. "My waist is disproportionately large," said Ms. Pierson, who=20
was shopping in the Jones New York department at Macy's Herald Square,=20
wearing a pair of Jones New York corduroy pants.

Fitlogic is the not the first company to tackle the sizing riddle. In=20
the mid-1990's Levi Strauss developed a system that allowed consumers=20
to order jeans cut precisely to their measurements. Using a different=20
approach, a company called Intellefit designed scanning machines that=20
took shoppers' measurements =97 including shoulder slope and calf=20
thickness =97 in stores. And Neiman Marcus provides a kind of CliffsNotes=20
to sizes in its catalogs.

But an industrywide solution has never materialized.

The developer of Fitlogic is Cricket Lee, who has frequently expressed=20
her own frustration with clothing sizes. On Q.V.C.'s Web site, Ms. Lee=20
describes herself as a 52-year-old who weighs 245 pounds, adding, "Like=20
many women, I was unable to find clothing that fit and I was sick and=20
tired of it." Ms. Lee declined to comment for this article.

According to Fit Technology, more than 90 percent of women over 35 fall=20
into three body types: straight silhouette, curvy and pearlike, which=20
the company labels 1, 2 and 3. Fitlogic pairs traditional sizes with=20
its three body types, producing a tag with sizes like 10.2 and 8.3.

But what would make the system appealing to shoppers =97 multiple=20
versions of the same size =97 is what turns off retailers and clothing=20
makers. Three times the number of items requires more display space and=20
creates more risk of unsold inventory. "A small boutique cannot support=20
a program like this," Ms. Jones of Garfield & Marks said.

The retailers that could support such a program may not want to. For=20
many, proprietary sizing, however frustrating, is a vital part of a=20
brand's identity.

"A Seven Jeans fit is different from a Gap jeans fit," said Andrew=20
Jassin, managing director of the Jassin-O'Rourke Group, a fashion=20
consulting firm in New York. "They don't want it to be the same."

The system also creates more work for clothing manufacturers. To make=20
one pair of pants using Fitlogic sizing, Garfield & Marks, which=20
designs clothes by hand, had to create three patterns. "The concept=20
behind this is legitimate and needed by consumers," Ms. Jones said.=20
"But it is very challenging to be an innovator on a concept like this."

The industry appears to be taking a wait-and-see approach. Even Macy's,=20
which agreed to test the system, has done little to advertise it.

The Jones Apparel pants using Fitlogic sizing hang on a single,=20
unmarked rack in a corner of Macy's Herald Square store in Manhattan.=20
On a recent evening, a saleswoman in the Jones New York department=20
where the pants are sold said she was unfamiliar with the product or=20
where it was sold in the store.<<
Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for". =A0- "Ride the Dark
Trail" by Louis L'Amour

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From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Clothes fitting
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Thank you for that article... very interesting.

Now what the retailers are missing is the opportunity to expand, and
raise their sales.

Imagine...  A large chain adopts the Fitlogic system.   Inside their
stores,  they create separate boutiques, or even a small independent
entity.  One for each body type.  Stock the items that flatter that
body type the most in their respective sections.  In larger chains you
could even have different stock for a particular body type in
different stores.  If a customer  finds something they like in one
section, but it is not their body type,  allow them to order (or
request from another store) that item in the fit they want.   This
wouldn't be anything revolutionary,  major chains already swap
clothing around between stores.

How many women would love to have a store that they knew the items
would be a better fit.  You see it already, women have brand loyalty,
if a line provides better fit.

Oooooh,  just think about it... stores might actually have to sell
more items on style and quality if they took out the fit roulette.

Mari  -  still irked that Banana Republic stopped making "the perfect
fitting jean" in 1992.

>Clothes That Fit the Woman, Not the Store
> By MICHAEL BARBARO
> Published: March 31, 2006

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Oh my!

http://www.carolinabelles.net/

"Our Mission: To encourage, educate, and empower women in all aspects
of Cowboy Action Shooting sports and all things Victorian."



Dawn


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I recently was given an early "head's up" that the Island will be hosting 1812 events for the next several years, leading up to the 200th anniversary and have been asked to display my beadwork - however, as my focus is ACW and Edwardian, this is 50 - 100 years earlier than my research has focused on.

I have not been very successful in finding information on the use of beaded accessories or dress trims in regards to those of European background  for this time period - can anyone suggest some good references?

Thank you,
Kelly Dorman
Backward Glances
www.backwardglances.net
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God forbid, stores cater to the older than 20 crowd!  If this idea were to 
actually fly, how many women would take up the shopping hobby?  I'd like to 
see what sort of percentage of women are these stores missing by continuing 
to ignore this market.

I for one would love to be able to go into any store and find something 
girly, and fashionable to buy off the rack!

Kelly, who wears boys levi jeans and t shirts most of the time...bummed out 
by the lack of fashionable clothes in her body type...and I'm not a very 
large person!



"Bravery is something you can experience on the spur of the moment, faced 
with danger.  To have courage, you must think about the dangers in advance, 
then weigh the risks, and then do what you have to do, despite your fears"
Caius Merlyn Britannicus


>
><< Clothes That Fit the Woman, Not the Store

>By MICHAEL BARBARO
>
>Published: March 31, 2006


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From: traci@crimsonvision.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] droolworthy victorian
Date: Fri, 31 Mar 2006 15:22:44 +0000
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Not only are they fantastic costumers and beautiful ladies, they are all sweet as anything!  Most of their outfits come from www.trulyvictorian.com patterns and they are on the boards there; Tornado Ali is on there most often I think.  She and I actually started talking because her horse is kept at the stable where my horse came from; I bought him last year and posted pics of him on the Truly Victorian board and it turns out she even has some of his hair saved for costuming projects!  ;)

Anyways!  Fantastic ladies and great inspiration!

XxX,
Traci

-------------- Original message -------------- 
From: Dawn <dawn@reddawn.net> 

> Oh my! 
> 
> http://www.carolinabelles.net/ 
> 
> "Our Mission: To encourage, educate, and empower women in all aspects 
> of Cowboy Action Shooting sports and all things Victorian." 
> 
> 
> 
> 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] droolworthy victorian
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In a message dated 3/31/2006 10:16:34 A.M. Eastern Standard Time,  
dawn@reddawn.net writes:

http://www.carolinabelles.net/



****************
 
Being from NC, I don't understand what all that "western" gear has to do  
with either of the Carolinas. The Bustle gowns are fun though!
 
Great! For decade TX has pretended to be part of the "South"...it's not.  Now 
we're pretending to be TX?????
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Subject: Re: [h-cost] Early 1800's beading
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In a message dated 3/31/2006 10:17:32 A.M. Eastern Standard Time,  
robinandkellydorman@hotmail.com writes:

have not  been very successful in finding information on the use of beaded 
accessories  or dress trims in regards to those of European background  for this 
time  period - can anyone suggest some good references?



I don't have much information--I had thought beads weren't much worn at  all. 
 However, Mary Boardman Crowninshield, at an event in Washington,  DC, in 
December 1815, described "Mrs. Porter [wore] a black crepe bugled a  quarter of a 
yard high."  This is the only reference I've seen to beaded  trim, though.
 
Ann Wass
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Date: Fri, 31 Mar 2006 07:52:25 -0800 (PST)
Subject: Re: [h-cost] Early 1800's beading
From: "Diana Habra" <dch@inreach.com>
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> I recently was given an early "head's up" that the Island will be hosting
> 1812 events for the next several years, leading up to the 200th
> anniversary and have been asked to display my beadwork - however, as my
> focus is ACW and Edwardian, this is 50 - 100 years earlier than my
> research has focused on.
>
> I have not been very successful in finding information on the use of
> beaded accessories or dress trims in regards to those of European
> background  for this time period - can anyone suggest some good
> references?

Kelly,

I don't think beading and dress trims were very popular at that time.  I
have seen some fabric self-trim on some dresses and *lots* of embroidery. 
The styles at that time were supposed to be more "simple" to get away from
the excesses of the late 1700's styles.

If you have been asked to display beading, maybe you can ask to display
embroidery instead?  You will have an easier time finding examples.....

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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On Fri Mar 31 10:23 , AlbertCat@aol.com sent:

>Being from NC, I don't understand what all that "western" gear has to do  
>with either of the Carolinas. The Bustle gowns are fun though!

The "western" gear is related to the sport - Single Action Shooting (aka SASS) - 
rather than the location. It's great fun, and any competition that requires 
costumes is a plus in my book.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 1-4, 2007
   

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Status: RO

THANKS!

Mounted shooting is next on our agenda, since one of our horses is 32 
years old and still loves to run but can't do it for long.  This is 
ideal for him.  He can run the ring twice then rest.  My husband can 
shoot off his back.  Everyone is happy!

PS- I can't hit the ground with my hat and my horse is "slow as 
molasses in January" but I wouldn't trade him for any other horse!

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Mar 31, 2006, at 10:14 AM, Dawn wrote:

> Oh my!
>
> http://www.carolinabelles.net/
>
> "Our Mission: To encourage, educate, and empower women in all aspects
> of Cowboy Action Shooting sports and all things Victorian."
>
>
>
> Dawn
>
>
> _______________________________________________
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Subject: RE: [h-cost] Clothes fitting
Date: Fri, 31 Mar 2006 09:26:58 -0800
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Mari, do you know of the custom fit jeans available from Levis? 
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Marie Stewart
Sent: Friday, March 31, 2006 6:39 AM
To: Historical Costume
Subject: Re: [h-cost] Clothes fitting


Thank you for that article... very interesting.

Now what the retailers are missing is the opportunity to expand, and raise
their sales.

Imagine...  A large chain adopts the Fitlogic system.   Inside their
stores,  they create separate boutiques, or even a small independent entity.
One for each body type.  Stock the items that flatter that body type the
most in their respective sections.  In larger chains you could even have
different stock for a particular body type in different stores.  If a
customer  finds something they like in one section, but it is not their body
type,  allow them to order (or
request from another store) that item in the fit they want.   This
wouldn't be anything revolutionary,  major chains already swap clothing
around between stores.

How many women would love to have a store that they knew the items would be
a better fit.  You see it already, women have brand loyalty, if a line
provides better fit.

Oooooh,  just think about it... stores might actually have to sell more
items on style and quality if they took out the fit roulette.

Mari  -  still irked that Banana Republic stopped making "the perfect
fitting jean" in 1992.

>Clothes That Fit the Woman, Not the Store
> By MICHAEL BARBARO
> Published: March 31, 2006

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Subject: Re: [h-cost] French site help dating
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Judging by the styles, it's c1500-1510.  Interestingly enough (ok, maybe 
only to me) there's a heavy Spanish influence in a lot of the gowns worn by 
the main characters and in the silhouettes of the more normal Franco-Flemish 
gowns.

-E House 

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Susan Data-Samtak wrote:

> 
> PS- I can't hit the ground with my hat and my horse is "slow as molasses 
> in January" but I wouldn't trade him for any other horse!
> 

Like their website says, "It's not how good you shoot, it's how good you 
look while shooting. "




Dawn


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From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Clothes fitting
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Status: RO

Yeup... and I thought seriously about trying a pair... but in the end
found another maker of jeans that fit - sigh - well enough,  although
I am always wanting the denim to be of a heavier weight.

On 3/31/06, Sharon at Collierfam.com <sharon@collierfam.com> wrote:
> Mari, do you know of the custom fit jeans available from Levis?
> Sharon
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Marie Stewart
> Sent: Friday, March 31, 2006 6:39 AM
> To: Historical Costume
> Subject: Re: [h-cost] Clothes fitting
>
>
> Thank you for that article... very interesting.
>
> Now what the retailers are missing is the opportunity to expand, and raise
> their sales.
>
> Imagine...  A large chain adopts the Fitlogic system.   Inside their
> stores,  they create separate boutiques, or even a small independent entity.
> One for each body type.  Stock the items that flatter that body type the
> most in their respective sections.  In larger chains you could even have
> different stock for a particular body type in different stores.  If a
> customer  finds something they like in one section, but it is not their body
> type,  allow them to order (or
> request from another store) that item in the fit they want.   This
> wouldn't be anything revolutionary,  major chains already swap clothing
> around between stores.
>
> How many women would love to have a store that they knew the items would be
> a better fit.  You see it already, women have brand loyalty, if a line
> provides better fit.
>
> Oooooh,  just think about it... stores might actually have to sell more
> items on style and quality if they took out the fit roulette.
>
> Mari  -  still irked that Banana Republic stopped making "the perfect
> fitting jean" in 1992.
>
> >Clothes That Fit the Woman, Not the Store
> > By MICHAEL BARBARO
> > Published: March 31, 2006
>
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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Clothes fitting
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Marie Stewart wrote:
> Thank you for that article... very interesting.
>
> Now what the retailers are missing is the opportunity to expand, and
> raise their sales.
>
> Imagine...  A large chain adopts the Fitlogic system.   Inside their
> stores,  they create separate boutiques, or even a small independent
> entity.  One for each body type.  Stock the items that flatter that
> body type the most in their respective sections.

Noooo!  I don't want to run back and forth across a store every time I 
have to think about whether a "straight" or a "curvy" fits better!

Adele d'M

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To: "Historical Costume" <h-costume@indra.com>
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*chuckle*  I can see how that image pops to mind.   But the idea, or
at least my hope, is that I would know,  once I had used the system a
bit,  that the "curvy" cuts fit me reliably best.  But hey...  You do
have a point that should be considered.     And, on the bright side, 
at least it would be running across one store,  and not to several.

Bridgette  ; >

> Noooo!  I don't want to run back and forth across a store every time I
> have to think about whether a "straight" or a "curvy" fits better!
>
> Adele d'M

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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Clothes fitting
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Hi Susan--
Is it possibel to cut and paste this article, most of the attachments show
nothing. Thanks!
Monica Spence

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Susan Data-Samtak
Sent: Friday, March 31, 2006 9:20 AM
To: Historical Costume
Subject: [h-cost] Clothes fitting


<< Clothes That Fit the Woman, Not the Store
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At 06:19 AM 3/31/2006, you wrote:
>It is a noble pursuit that has long eluded the clothing industry: a 
>standardized sizing system that would allow consumers to navigate the 
>frustrating world of off-the-rack apparel, where size varies from retailer 
>to retailer.
>


Thanks for sharing this one. If I had known about the system, I would be 
willing to try and actually buy a pair of pants. I haven't bought any pants 
in a long while, because I am disgusted with how they don't fit. Which 
reminds me... I need to make a few pairs with the new sloper pants system I 
recently learned. Here's hoping to a well fitting pair of pants on this 
pear body.

Kimiko


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At 10:15 PM 3/30/2006, you wrote:
>The images on the page are from Ovid's _Heroides_, which is written in the 
>form of letters from famous women (mostly mythological) of antiquity to 
>their lovers.  IIRC, all the affairs ended badly.  Anyway, the illuminated 
>manuscript is MS Francais 874, held in the Bibliotheque Nationale de 
>France in Paris, and it is believed to have been created sometime between 
>1498 and 1502.
>
>                   -Helen/Aidan


Ah, Wonderful. Thank you so much Helen, that's what I was trying to figure 
out, and was failing miserably at.

Kimiko


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Subject: Re: [h-cost] French site help dating
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At 09:49 AM 3/31/2006, you wrote:
>Judging by the styles, it's c1500-1510.  Interestingly enough (ok, maybe 
>only to me) there's a heavy Spanish influence in a lot of the gowns worn 
>by the main characters and in the silhouettes of the more normal 
>Franco-Flemish gowns.
>
>-E House


Hmmmm... Spanish influence? What specificially is the differences, besides 
the odd farthingale skirt I was seeing. I thought I was seeing Italian in 
like the sleeves, but I wasn't sure, and I haven't gotten a chance to read 
more of my book on Spanish costumes yet to know the differences. Not like I 
know much about Italians, other than what I've seen here and there.

Thanks.

Kimiko


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At 07:15 PM 3/30/2006, you wrote:
>The style of clothing seems to be early 16th century, say before 
>1530.  Think young Henry VIII.


Hi Joan,

I agree, but I needed to know when before 1530, to see if they were 
applicable to my research.

Thanks,

Kimiko


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To: "Historical Costume" <h-costume@indra.com>
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What magazine/journal was this article from? I have gmail and I didn't
see any reference to links or anything.  I'd like to be able to search
for the article in an online library and get the links.

TIA,
LynnD

On 3/31/06, Kimiko Small <kimiko@kimiko1.com> wrote:
> At 06:19 AM 3/31/2006, you wrote:
> >It is a noble pursuit that has long eluded the clothing industry: a
> >standardized sizing system that would allow consumers to navigate the
> >frustrating world of off-the-rack apparel, where size varies from retailer
> >to retailer.
> >

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<<
> From: "Marie Stewart" <maricelt@gmail.com>
> Date: March 31, 2006 1:25:19 PM EST
> To: "Susan Data-Samtak" <pasovasz@aol.com>
> Subject: Re: [h-cost] Clothes fitting - gotta start somewhere
>
> Great Idea!   Thank you!  Mari
>
> On 3/31/06, Susan Data-Samtak <pasovasz@aol.com> wrote:
>> I only replied to you.  Shall I forward your reply to me, back to the
>> list?
>>
>> We can start with articulate people who know sewing and fit, to get 
>> the
>> ball rolling.
>>
>> Susan
>>
>> "Slow down. The trail is the thing, not the end of the trail. Travel
>> too fast and you miss all you are traveling for". - "Ride the Dark
>> Trail" by Louis L'Amour
>>
>> On Mar 31, 2006, at 10:06 AM, Marie Stewart wrote:
>>
>>> That's an excellent question...  Let me think about this a bit.
>>>
>>> Right off the top of my head I say Write to them.   You know most of
>>> the big chain department stores,  Macy's, Hechts, Belk's, Ivy's,
>>> Nordstrom's have websites.   Let's write to them.   Letters always
>>> seem to carry more weight, but more people are willing to dash off a
>>> 30 second email.
>>>
>>> Also, let's focus.  If we scatter our efforts we dilute our impact.
>>> Let's choose one or two chains that are densely packed regionally.
>>> That will facilitate women getting to the stores, and the stores
>>> swapping garments.   Also, I would guess focus on the mid-range to
>>> mid-upper range stores.  Especially stores that cater to the
>>> professional woman - Talbot's perhaps,  or a similar chain.  Stores
>>> catering to the lower income people might not feel that their 
>>> clientel
>>> want or value fit as much.
>>>
>>> Also,  let's get more articles about this system - out there.
>>> Magazines, web sites, newspaper articles.   Letters to the editors.
>>> The more people who know, the more women who value fit will be
>>> interested in seeing this system implemented.
>>>
>>> Emphasize the time saving strategy of this way of shopping, not just
>>> the better fit.  Personal note... If I knew I could pick up 3 pairs 
>>> of
>>> pants that I liked the look of and that they would fit,  and not have
>>> to try all three pairs on... you have just save me 10-15 minutes in
>>> the dressing room.  I have more time to shop.
>>>
>>> Stores follow the money,  and the primary way the consumer makes an
>>> impact is by withholding the money.
>>>
>>> Now that we know this system is out there... have people ask for it.
>>> Word of mouth.   Every time they walk into a store.   "Where are the
>>> FitLogic clothes?"...  "Do you carry FitLogic clothes?"
>>>
>>> Educate the sales people,  who will tell their managers, who will 
>>> tell
>>> their supeervisors, who will talk to the director....    and up and 
>>> so
>>> on.
>>>
>>> That's off the top of my head.  Other ideas?
>>>
>>> On 3/31/06, Susan Data-Samtak <pasovasz@aol.com> wrote:
>>>> So, Marie, how do we tell THEM how we feel?
>>>>
>>>> Susan
>>>>
>>>> "Slow down. The trail is the thing, not the end of the trail. Travel
>>>> too fast and you miss all you are traveling for". - "Ride the Dark
>>>> Trail" by Louis L'Amour
>>>>
>>>> On Mar 31, 2006, at 9:39 AM, Marie Stewart wrote:
>>>>
>>>>> Thank you for that article... very interesting.
>>>>>
>>>>> Now what the retailers are missing is the opportunity to expand, 
>>>>> and
>>>>> raise their sales.
>>>>>
>>>>> Imagine...  A large chain adopts the Fitlogic system.   Inside 
>>>>> their
>>>>> stores,  they create separate boutiques, or even a small 
>>>>> independent
>>>>> entity.  One for each body type.  Stock the items that flatter that
>>>>> body type the most in their respective sections.  In larger chains
>>>>> you
>>>>> could even have different stock for a particular body type in
>>>>> different stores.  If a customer  finds something they like in one
>>>>> section, but it is not their body type,  allow them to order (or
>>>>> request from another store) that item in the fit they want.   This
>>>>> wouldn't be anything revolutionary,  major chains already swap
>>>>> clothing around between stores.
>>>>>
>>>>> How many women would love to have a store that they knew the items
>>>>> would be a better fit.  You see it already, women have brand 
>>>>> loyalty,
>>>>> if a line provides better fit.
>>>>>
>>>>> Oooooh,  just think about it... stores might actually have to sell
>>>>> more items on style and quality if they took out the fit roulette.
>>>>>
>>>>> Mari  -  still irked that Banana Republic stopped making "the 
>>>>> perfect
>>>>> fitting jean" in 1992.
>>>>>
>>>>>> Clothes That Fit the Woman, Not the Store
>>>>>> By MICHAEL BARBARO
>>>>>> Published: March 31, 2006
>>>>>
>>>>> _______________________________________________
>>>>> h-costume mailing list
>>>>> h-costume@mail.indra.com
>>>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>> >>
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
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This page was sent to you by:=A0 jsamtak@patmedia.net

Message from sender:
  FYI

  BUSINESS =A0 | March 31, 2006
  Clothes That Fit the Woman, Not the Store
By MICHAEL BARBARO
A Dallas company has developed a sizing system it hopes will allow=20
consumers to better navigate the world of off-the-rack apparel.

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  1. Scans Show Different Growth for Intelligent Brains
  2. Long-Awaited Medical Study Questions the Power of Prayer
  3. A Preacher's Credo: Eliminate the Negative, Accentuate Prosperity
  4. Personal Health: A Chance Find, and Voil=E0! Goodbye, Hot Flashes.=20
Hello, Sleep.
  5. Op-Ed Contributor: A Poverty of the Mind

=BB=A0  Go to Complete List

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  >>
Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for". =A0- "Ride the Dark
Trail" by Louis L'Amour

On Mar 31, 2006, at 7:46 PM, Lynn Downward wrote:

> What magazine/journal was this article from? I have gmail and I didn't
> see any reference to links or anything.  I'd like to be able to search
> for the article in an online library and get the links.
>
> TIA,
> LynnD
>
> On 3/31/06, Kimiko Small <kimiko@kimiko1.com> wrote:
>> At 06:19 AM 3/31/2006, you wrote:
>>> It is a noble pursuit that has long eluded the clothing industry: a
>>> standardized sizing system that would allow consumers to navigate the
>>> frustrating world of off-the-rack apparel, where size varies from=20
>>> retailer
>>> to retailer.
>>>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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