Royal Bling - Richard III Funeral Crown

Richard III finally gets a 'funeral crown': Hand-crafted headpiece goes on display in York

• Golden crown was commissioned by a historian involved in the archaeological dig that recovered Richard III from a Leicester car park
• Richard was killed at the Battle of Bosworth in 1485
• The 15th century-style gold-plated crown has white enamelled roses on it
• Rubies and sapphires represent the livery colours of the house of York
• The funeral crown is on show at the Richard III Experience in York

Image from and full story at: http://www.dailymail.co.uk/sciencetech/article-2642997/Richard-III-finally-gets-funeral-crown-Hand-crafted-headpiece-goes-display-York.html#ixzz339uBzmXr

Op-shop Fabric Score

My computer and my sewing machine broke down recently. On the way to pick my machine up from the shop yesterday, I stopped into an op-shop and picked up some wool for a coat and a roll of heavy fabric for interlining bodices and corsets.

Plus, I have my machine fixed and back in time for the Italian Renaissance Costuming Challenge 4!
http://realmofvenus.renaissanceitaly.net/challenges/IRCC2014/IRCC4-2014-Entrants.htm

Purple Velvet Caul

Cauls and similar headwear are seen a lot in sixteenth century portraiture, and appear in images from across Europe.

The black velveteen caul that I regularly wear to events is starting to get a bit worn and daggy and I decided it was time to make a new one. The only problem was that I made my old one so long ago that I couldn't remember what size circle I used for the 'bag', and I hadn't kept a pattern!

I have had this old wonky wire ring for years and use it to trace rough circle shapes, so I figured that I had probably originally used this as a pattern. I traced the circle and then added 1.5 cm seam allowance all around just to be safe.

I had some Christmas-type gilt decorative ribbon for decoration. I thought this pattern would work well. The next step was to pin it all into place and hand sew down. I sewed down each edge for durability.

The caul after sewing down the gilt strips(above). It is a bit wonky as I was on holiday and had no ruler, no sewing machine and very little equipment. I had to 'guesstimate' things and found that the gilt strips slipped around a lot. The joins of the gilt thread have a baroque freshwater pearl sewn on them.

I hand-stitched the lining to the velveteen. Then I added two rows of fairly large gathering stitches around the edges. I had the long edges hanging out at the side centre. At this stage, I still didn't know if I had made the bag the correct size, and whether it would fit.

I measured my head and worked out how wide I wanted the band of the caul to be; I didn't want it to be too tight. I added 1.5 cm seam allowance and machine zigzagged the edges because the velveteen frays a lot. I hand sewed the ends together and then tacked the edges down so that they wouldn't move and slip and distort the shape of the band.

The band all tacked up and ready to sew. There is a faint fold mark in the middle of the band which shows where the front edge of the band will be when it is made up.

This image gives an idea of how much the fabric gathers in when the two sets of side threads are pulled. (The gathering threads are dark purple.)

Once the gathering stitches have been pulled in, I adjusted the gathers so that they were fairly evenly distributed around the hat. The yellow chalk line is the top of the hat.

Putting the tacked band into place over the edge of the 'bag' part of the caul. I tucked the edges of the bag into the fold on the band, trying to make sure that the edge of the 'bag' (the gathered part) was touching the fold in the band. It did move around quite a bit, so there are a few places where it has slipped back.

Pinning the outside of the tacked band on. I sewed the outside down first to minimise moving and slipping.

The next step was to sew down the inside of the band, but I thought the band edge looked a little plain.

I found some gilt thread in my stash and couched one line of it down around the edge of the band. I couched it down with a doubled piece of yellow sewing thread (probably cotton or poly-cotton).

Next, I turned the hat inside out, and pinned the inside of  the band down. Then I hand sewed the inside piece down.

The band is slightly thick. I don't mind it like that, but I may reconsider my technique for the next one. I am thinking that I may omit the lining, reduce the seam allowance, or choose a less bulky fabric for the caul and/or band.

The finished caul on a stand.

I usually sew in a metal comb to help hold the caul in place, but this time I have tried wig clips. We'll see how they go! I need a comb or a clip because I usually wear my cauls behind a jewelled billiment and twisted hairstyle (below). It doesn't sit way back on my head, but I like the security of knowing that the clips or comb will stop it coming off.

I am pleased with how this project has turned out. I feel a little gaudy in such a bright hat, but I think it is pretty, and I am very relieved that it actually fits. This time, I kept notes so that I don't have to guess the next time I go to make a new caul.

New Bling and Gallery of Projects

I attended an event recently where a talented member of my Barony was selling hand made jewellery. I bought this lovely necklace from Lord Gabriel Ziegler.

At the event, there was also an Arts and Sciences display. I didn't really think I had anything to bring, so I grabbed an unfinished Elizabethan embroidery that I have been working on to show. It was only today, as I was looking through a cupboard for something, that I realised that I have many items that I could have brought along to show. Isn't it funny how quickly we forget projects that we worked so long on if we are not using them regularly? I have decided to compile a gallery of photos of my work to keep a record of what I have done, and also to use as an inventory. This will also help me to keep track of what I have blogged.

Renaissance colours

This link may be of interest to costumers, illuminators and embroiderers-
http://www.creamcityillustrators.com/another-fun-renaissance-thing/


from- http://www.creamcityillustrators.com/another-fun-renaissance-thing/

Blog Link- Kampfrau Hemd or German Chemise

I thought you might enjoy this link to a blog that I follow and really enjoy reading. I am currently toying with the idea of some more German projects, and this blog entry is for a high necked German chemise:
https://katafalk.wordpress.com/2012/06/26/patternmaking-for-the-kampfrau-hemd-chemise/

This lady does lovely, detailed work and provides excellent tutorials as well.

Image from: https://katafalk.wordpress.com/2012/06/26/patternmaking-for-the-kampfrau-hemd-chemise/

Split-stitch Celtic Motif

I was given a book of Celtic animal motifs at Easter, and the recent embroidery efforts of some of my SCA friends inspired me to try one in split stitch on a linen band.

I traced the motif out with craft carbon and started sewing the sections in split stitch. The stitch direction followed the shape of the animals' muscles. I used DMC cotton floss instead of silk to save money. The base fabric is linen.

 

Part way through the project I was finding it very difficult to keep track of where I should be sewing as the carbon started to fade. So I went over the outlines in black split stitch and then just went back and filled the sections. Much easier!

 

I added some highlights around the face and feet. The head curls look white in the photo but are actually a very pale green. 

 

I used this piece as a 'sampler' to develop my skills in a technique that I am not very experienced in. It was very time consuming and challenging to keep the stitch tension correct, but I am pleased with the result and can already see more split-stitch projects on the horizon. The resulting piece has a pleasing weight and texture and would look good as an applied motif on clothing.

Trim Bargains from Sign of the Lambtree

Today I got some trim bargains from my friend and trim supplier Anwyn of 'Sign of the Lambtree'. Choosing is hard, but deciding what to use them on is even harder!

 

She has a great range of trim at bargain prices as well as games and medieval artifacts -

 

http://www.lambtree.com.au/

 



The School of Historical Dress - Link

A resource that I have only recently become aware of that  may interest readers: http://theschoolofhistoricaldress.org.uk/

and, more specifically, The Janet Arnold Collection http://theschoolofhistoricaldress.org.uk/?page_id=124

Janet Arnold giving a lecture at Montacute House, Somerset, 9th
November 1991
from: http://theschoolofhistoricaldress.org.uk/?page_id=124

ANZAC Day - Lest We Forget

Pine Nut Candy - Pynade

I recently made a subteltie for a big event, and I wanted some toffee to accompany it. I have made pynade before, and it has been very popular.


Two Fifteenth-Century Cookery-Books gives the following recipe:
 Pynade

Take Hony & gode pouder Gyngere, & Galyngale, & Canelle, Pouder pepir, & graynys of parys, & boyle y-fere; than take kyrnelys of Pynotys & caste ther-to; & take chyconys y-sothe, & hew hem in grece, & caste ther-to, & lat sethe y-fere; & then lat droppe ther-of on a knyf; & if it cleuyth & wexyth hard, it ys y-now; & then putte it on a chargere tyl it be cold, & mace lechys, & serue with other metys; & if thou wolt make it in spycery, then putte non chykonys ther-to.

There are other variations on this recipe in various Medieval and Renaissance cookbooks. Once sugar began to be regularly imported and was considered a sign of wealth and status, the level of sweetness in many foods (especially desserts) really increased. This recipe is one that will have your teeth curling from the sweetness, particularly if you experiment with substituting sugar for the honey.

My most recent redaction:
2 cups honey
1/4 teaspoon ginger
1/4 teaspoon cinnamon
1/4 teaspoon black pepper
200 grams pine nuts in 3 lots
1/4 teaspoon allspice
I mixed all the ingredients together in a saucepan and brought it all to a boil. I  boiled it until it reached 300 degrees F on a candy thermometer. This can take a long time depending on the type of stovetop you have and also the type of honey and any water or impurities it may contain. As with any toffee-type sweet, the mixture is scaldingly hot and sticky, so be extremely careful when cooking and don't be tempted to step away from the pot for a moment. It can boil over in an instant and you will at the very least have a horribly hot and sticky mess to clean up and at the worst an extremely bad burn.

The candy made with sugar instead of honey

 I used a generic honey blend this time and found that the colour was much more pale than the last couple of times I made this recipe. It was also much softer than the last couple of times I have made it. This may have been due to the type of honey I used, and also due to the fact that it was quite humid.

I added about half the pine nuts at the beginning of the process, and put the rest in in two batches. I did this because I wanted a bit of variety in the colour of the nuts and also how cooked they tasted. The result was pleasing, if a little bit too sticky. I dusted the toffee in castor sugar after breaking it up and then kept it in the fridge to reduce the stickiness. My family are not used to much medieval food, but they all enjoyed this candy.

The toffee cooling and drying on waxed paper

I cut back a lot of the spices because several people with specific spice allergies were going to be attending the event. I personally like a more spiced candy because I think that the spices help to cut through the sweetness. Powdered galangal and grains of paradise are really hard to find where I live but I would have included them if I could have. I have also tried coriander root in the past, which added a pleasant element to the recipe.

You can vary the spices according to taste and what you have available. I have experimented with substituting sugar instead of honey and also used raw pine nuts and almonds (both peeled and with the skins on.) All these variations make the candy change in taste, texture and colour, but it is always popular with people who have a sweet tooth!




Michelle Carragher Embroidery Site

Beautiful embroidery from Michele Carragher; you may recognise her work from 'Elizabeth I' and 'Game of Thrones' -

 

 

More information at (and images from) http://www.michelecarragherembroidery.com/index.htm



 

Necklaces

Here are some necklaces that I strung recently.


This is a necklace that I made for myself. I bought the silver and enamel pendant about twenty years ago at a 'going out of business' sale. I had never put it on a necklace and had honestly forgotten all about it until I found it a couple of weeks ago. I was delighted to realise that the seahorse to sinister and the silver and purple all match my SCA device. So I strung it on tiger tail with a mix of freshwater pearls and black glass beads.

I made this necklace as a gift. The purchased onyx pendant is set in silver and the pearls are freshwater baroque pearls. 

This necklace was also a gift. The beads are maroon glass, and foiled red and turquoise glass beads, and the metal pendant is an antiquity. It is a Byzantine pendant dug up on what was probably a trade route in Bulgaria.

A detailed view of the pendant:

Margery Kempe Autobiography

Margery Kempe, the first  

English autobiographer, goes online

The British Library digitises an original edition of the medieval mystic's  account of her life

from: http://www.theguardian.com/books/2014/mar/20/margery-kempe-first-autobiographer-digitised-british-library

New Manizza/Muff

Muffs known as Manizzas in Italy and Snoskyns in England, were a handy way of keeping hands warm as well as a status symbol and sign of conspicuous consumption in the sixteenth century. The fur pelts, fine fabrics and craftsmanship all reflected that the wearer was someone who could afford luxury and was aware of fashion

Queen Elizabeth I had several muffs (also called countenances) and there is a record of Amyas Paulet purchasing a muff on her behalf in Paris in 1579 (Queen Elizabeth's Wardrobe Unlocked by Janet Arnold, p. 97). Ladies posed with manizzas or zibellini ('flea furs') are common in both Italian and English portraiture from the sixteenth century. Some of the portraits that I found inspiring can be seen on my earlier blog post about my earlier attempt at making a manizza or muff: http://broidermebethan.blogspot.com.au/2012/06/new-manizza-or-snoskyn.html

In January and February 2014, I was part of the Italian Renaissance Costuming Min-Challenge - "Fabulously Fashionable Fur (http://realmofvenus.renaissanceitaly.net/challenges/IRCMC-Jan2014.htm).

The weather here in South Australia was the hottest in recorded history, so it was not a good time to be sweating and working with fur. The competition's organiser Lady Bella graciously extended the challenge to allow for the weather. As usual, I went into the challenge with high hopes and huge plans. The more portraits I looked at, the more I wanted to make. I started with a muff because I had a small rabbit pelt that a friend had given me after finishing a pair of fur lined sleeves. (I do not support the fur industry in any way, but I do believe that if an animal is killed humanely for food then we should do our best not to waste anything. I have no issue with re-using or recycling vintage furs or the skins of animals slaughtered for food.)

All the materials that I used, I had in stash or had purchased for other projects. I made this muff quite small because the last muff that I made was quite a bit larger and can be a bit heavy and unwieldy. Also, I saw a gentlewoman at an SCA event last year with a small one hanging from her girdle, and I thought it looked very elegant.

My first step was to assemble materials and then make a rectangular paper pattern that would fit my hands and accommodate the pelt that I had.

The upholstery fabric that I had was a nice pattern but prone to thread separation. This would make it tricky to sew later on.

I am not a keen sewer, so my favourite part of any sewing process (apart from wearing the resulting pretty item!) is playing with trim and fabric options and dreaming of possibilities.

After trimming my fabric and pelt to size, I edged the fabric, pinned the fabric (wrong side out) and pelt (skin side out) together and sewed around the edges, leaving a small area unsewn for turning.

Once the pelt and fabric were sewn together, I had the tricky task of turning the 'bag' right side out.

Once the manizza or muff was the right side out, I made sure that all the seams were pushed out and the hair pulled out of the seams before sewing on some maroon satin ribbon.

The next thing I decided to work on was the woven buttons. You can see the tutorial on how I did it here: http://broidermebethan.blogspot.com.au/2014/01/woven-button-tutorial-back-stitched.html

I added loops of gold DMC floss to the completed buttons and a decorative little knotted lump in the middle at the top. Next time I will use a bead, because I was not very happy with how this element worked out.

I made five of these buttons and stitched them to one side of the manizza.

I liked the way the ribbon looked by itself, but wanted to try out some trims. The plain gold upholstery trim was too much, but I had a small amount of maroon and gold trim that was purchased for the edge of a French hood. It looked pretty good on the ribbon, so I sewed it down in the centre of the satin ribbon.

I had some lovely little gold accents that I bought for a Tudor bodice from http://dragonsbloodcreations.com.au/

I thought that they looked nice, and would be a good way of hiding the join in the trim.

The last task was to make buttonhole loops for the button closures and to make an anchor point to hook my girdle chain to. I made a couple of loops of crochet cotton and then button hole stitched all around them before anchoring the thread and knotting off. This was a tedious task because the hairs from the fur kept getting stuck in the loops and pulling through with the thread. Also the fabric was quite loosely woven, so I had to be careful how hard I pulled the thread. Next time I will try lucet cord loops sewn into the seams because I found that the crochet cotton stretched quite a bit.

Once the loops were finished, I joined some lobster clasps and a key chain ring to a length of chain so I can hang the manizza from my girdle.

Although I didn't get all the other items that I had planned done (as usual!) I am satisfied with what I achieved in the challenge. I have a pretty accessory and I plan to make another for a friend at some later date.

I found these pages after I had finished my manizza, when I was looking for supporting pictures. I would recommend them to readers:

https://thepragmaticcostumer.wordpress.com/tag/album-amicorum/

http://webspace.webring.com/people/lo/oonaghsown/curves/muff_in_sixteenth_century_dress.htm

http://jeannedepompadour.blogspot.com.au/2012_03_01_archive.html

The ‘Portrait of Anna Radziwell’ 1583 shows what looks like a fur capelet. Hmmmm…. Ideas for the future!

Here is the link to see what the other entrants in the challenge have created:

http://realmofvenus.renaissanceitaly.net/challenges/IRCMC-Jan2014-Results.htm

Many thanks to Lady Bella  of Realm of Venus (http://realmofvenus.renaissanceitaly.net/) for organising this fun challenge.