hsifeng: (www.crackafuckingbook.com)

I had noticed that no-one had mentioned this news story out of Cologne in my research-oriented online communities: It was brought up on my fahnlein's BBS by one of our German speakers....

More detail, including some lovely government corruption, here.

The loss of life is a terrible tragedy. The loss of hundreds of years of German cultural heritage, much of it salvaged from the rubble of WWII, is horrific. 18 kilometers of archival documents, going back to 922 and covering everything from original town council documents dating from 1376 to the original socialist press newspapers published by Karl Marx.




*tears*
hsifeng: (www.crackafuckingbook.com)

 

Peacocks and Penguins: The Political Economy of European Cloth and Colors
Author(s): Jane Schneider
Source: American Ethnologist, Vol. 5, No. 3, Political Economy (Aug., 1978), pp. 413-447
Published by: Blackwell Publishing on behalf of the American Anthropological Association
Stable URL: http://www.jstor.org/stable/643750

So, I finished reading this article yesterday (if you want a copy, let me know – I will e-mail it to those without JSTOR access) and found it pretty interesting. I am not well versed enough on the specifics of the wool or dye trades to really verify its contents, but they made for interesting food for thought.

The article summary:

“This paper relates color symbolism in European dress to the historical geography of textile manufacturing and dyeing, dating back to the Middle Ages. Its central concern is the widespread use of black, not only as a color of mourning, but also as a mode for communicating religious and political goals. Black clothing, it is argued, constituted both a practical and a symbolic means of resisting the luxury, polychrome fabrics that older and more developed civilizations of the eastern Mediterranean ex-ported. Although beautiful and tempting, these textiles were instruments of hegemony, for they were produced under monopoly conditions furthered by the highly uneven world distribution of dyestuffs. In Europe they commanded basic resources-slaves and bullion-in exchange and thus created an unequal balance of trade. Black cloth, which contributed in many different ways first to arrest and then to reverse this imbalance, was a totally indigenous product that native craftsmen manufactured and brought to perfection using native raw materials. As such, it had something in common with contemporary symbols of national liberation, perhaps even when it called attention to death.

The paper traces and interesting path from the Medieval through Modern (18th/19th C) Eras. It discusses the imbalance of trade between Eastern empires and Europe, followed by the internal textile trade imbalance within Europe itself, the reaction of nascent nation-states to the loss of their capital to other countries (i.e. sumptuary law), the change of national trade balance and the counter-trade reaction created by the introduction of later period materials inventions. Overall the theme of the paper (the use of black cloth by European states as a trade and political tool) seems to be fairly well supported by the evidence given.

Makes me want to make a pitch-black, velvet on satin Spanish ensemble with silver trim and a big-old black ruff set. *evil grin*

Interesting quotes:

"By examining manifestations of black dress over time, we discover that, more than a funerary color, it resembled key symbols of national liberation with which we are familiar today. Like these symbols it bore a complex relationship to social class. Such symbols tap egalitarian sentiments when "national" leaders speak through them to expel compradors and imperialist agents from the higher strata of the body politic; but they often become routinized, ceremonialized, and elitist when the body politic is on its own. The process of routinization in turn calls forth "reformations," in which groups disadvantaged by the new alignment of forces strip the original symbols of their encrusted accumulations of pomp and splendor so as to use them, in purified form, to announce a renewed revolution. In the resulting conflict, class and regional enemies speak to each other in different dialects of the same language: embroidered black and plain black coexist in struggle."

“Italian hegemony, and demand for bullion, was not spread evenly, however; it advanced, as Braudel has suggested, "along narrow channels running northwards with the great trade routes" (Braudel 1972, Vol.1:223). The main cluster of these routes transversed a corridor or "isthmus" that lay between eastern France on one side, Hungary and Poland on the other, and stretched as far north as England and Scandinavia. To the west of this corridor, in France and Spain, centralizing monarchies had successfully warded off excessive Italianization and diverted the oppressive fiscal demands of the papacy onto "less united and stable countries like Germany" (Dickens 1966:35). As a result, the bulk of the Mediterranean trade went over the alpine passes and up the Rhine. Everywhere it penetrated, it stimulated a local economy to new levels of production and exchange, and to increased outflows of bullion. "Geographers talk of a catchment area of a river; here there was a catchment of many trades by the quick flowing rivers of money to the profit of financiers in Genoa and Florence" (Braudel 1972, Vol.1:386,393). That the balance of trade was un-favorable to the north was "wholly to be expected"; in spite of it, northern merchants and artisans were "as if under apprenticeship, looking for guidance to the towns of the South" (Braudel 1972, Vol. 1:215). In England this situation led to a series of anti-Italian riots in the fifteenth century (Myers 1963:73,159-162; also see Holmes 1960 on Florentine merchants in London).”


“South German and alpine politics of the fifteenth and sixteenth centuries similarly fused moral and economic concerns. Angry at merchants who sent "great sums of good money to Italy," reformers declared that "cloth made in foreign lands shall not be sold in our markets," and they advocated clothes of solid colors, a different color each for men and women (Braudel 1972, Vol. 1:215; Shapiro 1909:16). Both moral and economic criticisms of ostentation were reflected in municipal sumptuary laws that, although not new, multiplied rapidly in much of Europe after 1400. These laws had as a central purpose the limitation of purchases to which social pressure and rivalry for status drove citizens, even against their will, threatening them with financial ruin.”


"“Counter-Reformation violence in south Germany and the Low Countries turned many thousands of Protestants into refugees. A large number of these refugees were skilled workmen, the most highly skilled being dyers (Burn 1846: Kisch 1964; see also Kamen 1971:89-99; Trevor-Roper 1967). It was incumbent upon states like England and Holland, where the new draperies were not yet well-established, to offer protection and exemptions to Protestant migrants. Flemish, German,”

 

hsifeng: (Creative)

 

OK,

 

For years I have been coached to believe that German wore their pants with high waists (or at least “above the natural waistline, and certainly higher than most modern men are comfortable with”) during the 16th century. This assertion appeared to be borne out in the art from the period. For example, from the “German Single Leaf Woodcuts 1500-1550”, Max Geisberg & Walter Strauss:

 


 

And from the back:


 

So today I was trolling through the new-and-improved-but-stinky-for-downloading-images bildindex,  when I was struck by what appeared to be low waist in several extant pairs of pants. This got me curious, so I did some more digging into my own image archives and on several other sites. What I found didn’t jibe with what I have always thought was an accurate statement regarding the height of men’s pants in this period.

 


 

 
Same pair in yellow above, from the back:


 


Look at where the codpiece lands in relation to the waistline in the woodcuts. Now look at where it lands in the extant pants.

 

What gives?


hsifeng: (www.crackafuckingbook.com)
*does a little dance*

So, I got a reply from Elizabeth Bryan from the MET Costume Institute today. I am going to copy and paste it, along with the questions from the original message text, for future reference. 

*Note: I am interested in her response regarding the presence of a 'back seam' not clearly visible from the original photo of the cap.

Dear Cherylyn,

Thank you for your e-mail and interest in The Costume Institute. 

Q:   Where is the cap originally from? A: Unknown- database states German

Q:   Is there any more date-specific information to be had (early, mid- or late century)?  A:  no

Q:  Is there any hypothesis as to the gender of the intended wearer? (We would assume for a woman.)   A: no

Q: Are there diagrammatic sketches of the cap available with measurements?    A:no sketches- (Specifically, is the 13 X 11 inch measurement of the cap when flat, or of the entire length and width of the cap?) length flat 11” width flat 9 ½”

Q: The seam running from the wide/dark border to the narrower border (and apparently through the line of embroidery) appear to curve rather than create a 90 degree angle; is this the case, or an effect of the manner in which the cap is displayed?    A: curve

Q:  Other than those seams visible in the image, are there any others that are not clearly visible? A:back seam that begin from 5 ½ inch from center top to band

Q: The narrower of the two reinforced edges (parallel to the line of embroidery work), appears to have been gathered at some point. Is there any evidence of how this gathering was created; if it was a part of the original cap design, or instead a result of the method in which the cap was stored?    A: no

Q:    How was this edge finished? (Bias) Tape? Wide hem? - THIS QUESTION MAY NOT HAVE BEEN ANSWERED BY THE "No" ABOVE...

Q:   Is the cap lined? Is the darker/wider band of cloth self-lined or lined in another fabric?   A: cap is lined – it appears to be a past conservation treatment

Q:   Does the difference in color between the band and the main ‘body’ of the cap indicate a change in fabric, or the presence of dye?  A:unclear

Please note that we have answered your questions to the best of our ability.  Unfortunately, we are closed for research appointment to date as we are working on an assessment of our collection and are photographing the entire collection.  However in the future I would suggest that if there are any objects that capture your interest as a costume historian that you may want to schedule an appointment to do further research as we may not be providing the details to your satisfaction.

With your permission we can place you on our e-mail and mailing list to keep you abreast of our progress and appointment availability in the future.

Best of luck with your projects.

Sincerely,

Elizabeth Bryan

Elizabeth Q. Bryan, Senior Research Associate

Collections Manager

The Costume Institute

The Metropolitan Museum of Art

1000 Fifth Avenue

New York, NY 10028-0198

(212) 396-5441



hsifeng: (www.crackafuckingbook.com)
http://www.st-max.org/ae-backslash.htm

This article got me thinking when I read it awhile back. Now, I am not refuting what appears to be the overall premise of the work (that slashing on the back of a landsknecht Wams/doublet appears to less common than a lack of slashing), but a friend of mine did find these examples – S.M., you know who you are! *grin*

I am webbing the images, along with some of his notes, because I recently stumbled across the letter containing them again while cleaning out my e-mail inbox and I want to keep it handy for future reference.

Besides, I always like the possibility that further discussion may come of this post!

BTW – My friend knows the difference between a Wams and a Ledergollar, and is citing these as specific examples of the WAMS being slashed. After all, it was common for the Ledergollar (the leather-vest-like outer layer) to have slashing on the back. I have inserted the images in the text below in the same order he originally cited them as attachments.

From S.M.:

I stuck to images of soldiers in context and there is a mixture. The tendency seems to be men wearing un-slashed wams and slashed ledergoller, but there are some slashed wams and some
un-slashed ledergoller. I think the reasoning behind the choice would need much deeper exploration.

Cut for your sanity, and for BIG images... )

Additional images in these sources:

From _The Renaissance at War_ by Thomas Arnold
pp. 151


From _GSLW, 1500-1550_
Niklas Stoer
pp. 1316, 1323, 1343

From the Dover version of The Triumph
pp. 92, 99, 103, 126


Oh and as an aside, I came across this as I was looking for the plural of "goller" (never found that):

The following is from a 1488 inventory of the weapons held by peasants in a south German territory:

Der alt Cunrat Zick ain arbrust
ain bantzer ain brust ain goler
ij hensthüch ain hellen parte_
und but ain hoff hant ain sun

Proposed translation:
Old man Conrad Zick has a crossbow, an armor breast plate, ain brust?, ain goler?, two gloves, and one halberd. He works a farm and has a son.

Pretty well armed peasants..... I am not sure where the rest of this inventory is to be found.

hsifeng: (www.crackafuckingbook.com)
Trolling the intarwebz and came across these sites:

http://haandkraft.blogspot.com/

http://louiseschelde.livejournal.com/

Nice work in there...
hsifeng: (www.crackafuckingbook.com)
OK, so I just talked [livejournal.com profile] sstormwatch  into helping out with some photo demos' of possible layer combinations for making up a Steuchlein. (*HUGS* Thank you!)

There are a few different styles I would like to try and recreate, clearly they all involve ‘similar’ layers, worn in a variety of ways. The layers as I see them are as follows:

False braids - Zopfe (*not everyone would need these, but I am going to try them out)
Understructure – Wulst
Cap – Wulsthaube
Veils – Schleiertuch
Chinband – Kinnbinde

For these parts, I am going to assemble the following pieces:

False braids
One pair of Zopfe - which appear to require about ‘one ell’ and then some of fabric (around 45” – 50” at a width of about 25”), plus stuffing.

Understructures
One curved ‘crescent’ Wulst
One rounded ‘roll’ Wulst

Caps
*One under-Wulst-cap/Wulsthaube based on this style  - having worn my other versions of a Steuchlein a few times, I know that having something under all those other layers that help keep them clean is a good plan.
*Two over-Wulst-cap/Wulsthaube based on this style in two different colors

Veils
Two basic Schleiertuch in linen in two different colors
One basic Schleiertuch in silk
One extended Schleiertuch in silk based on this model

Chinband
Two Kinnbinde in two different colors


Why two colors you ask? I am interested in showing how the layers interact in a variety of combinations.

The following images demonstrate the styles I would like to attempt to recreate.  )

hsifeng: (www.crackafuckingbook.com)
From: Textile Conservation and Research. A Documentation of the Textile Department on the 20th Anniversary of the Abegg Foundation.
Bern, Schriften der Abbeg-stiftung, 1988

Here are some images and text that I just wanted to save for later reference.... )


hsifeng: (www.crackafuckingbook.com)
From: Textile Conservation and Research. A Documentation of the Textile Department on the 20th Anniversary of the Abegg Foundation.
Bern, Schriften der Abbeg-stiftung, 1988

Now, I seem to remember when I first said I was getting this book - SOMEONE needed to get more information on this dress. So when the book arrived, I noticed the dress was in it and took a *lot* of photos (it was a pretty big section of the book).

If you happen to know who wanted this, and can let them know it is here, that would be great!

Read more... )
hsifeng: (www.crackafuckingbook.com)
From: Textile Conservation and Research. A Documentation of the Textile Department on the 20th Anniversary of the Abegg Foundation.
Bern, Schriften der Abbeg-stiftung, 1988

While I haven't nutted out enough to try making my own net cawls (yet), I thought this might come in handy for someone, and perhaps for me later!

No, it's not for catching fish.... )
hsifeng: (www.crackafuckingbook.com)
From: Textile Conservation and Research. A Documentation of the Textile Department on the 20th Anniversary of the Abegg Foundation.
Bern, Schriften der Abbeg-stiftung, 1988

The following item is a coat housed in the Berne Historical Museum that the folks at the Abegg Foundation believe was originally plundered 'from the Burgundians'. I believe others have documented items about this coat in their own journals in the past, if memory servers there was some alteration of the cut during the coats lifetime - although I cannot recall now if that was mearly from sizing (as described in the attached text) or if the coat was cut down from another garment.

I *really* love this coat!  )

Sadly, this was not one of the items they made a pattern for...

EDIT 10/24/08 The following 'pattern' layout was provided via the article that [livejournal.com profile] jillwheezul was kind enough to share. The article also indicated that the cut and style of the garment was 1530, but that it was probably altered from an earlier garment (at least 1500).


hsifeng: (www.crackafuckingbook.com)
From: Textile Conservation and Research. A Documentation of the Textile Department on the 20th Anniversary of the Abegg Foundation.
Bern, Schriften der Abbeg-stiftung, 1988

As mentioned in my entry on men's knitted hats from this same book, this entry deals with a set of clothing from the Berne Historical Museum. The clothing was originally attributed to Andreas Wild von Wynigen, who fought in at least one battle in 1499 (Dornach). However, the clothing has since been reexamined and it has been determined that this is more likely a reproduction by other members of the von Wyningen family - specifically a grandson who was a tailor and who may have made the set as a 'historical costume' for himself.

There were so many photos to take of the Wams (doublet) and Hosen (pants) that I split it into two entries in an attempt to not overload the usefulness of the photos and to make future use of these sources easier.

This post is image HEAVY...consider yourself forewarned.

Onward, to the Wams! )

Back to the Hosen...

hsifeng: (www.crackafuckingbook.com)
From: Textile Conservation and Research. A Documentation of the Textile Department on the 20th Anniversary of the Abegg Foundation.
Bern, Schriften der Abbeg-stiftung, 1988

As mentioned in my entry on men's knitted hats from this same book, this entry deals with a set of clothing from the Berne Historical Museum. The clothing was originally attributed to Andreas Wild von Wynigen, who fought in at least one battle in 1499 (Dornach). However, the clothing has since been reexamined and it has been determined that this is more likely a reproduction by other members of the von Wyningen family - specifically a grandson who was a tailor and who may have made the set as a 'historical costume' for himself.

There were so many photos to take of the Wams (doublet) and Hosen (pants) that I split it into two entries in an attempt to not overload the usefulness of the photos and to make future use of these sources easier.

This post is image HEAVY...consider yourself forewarned.

Read more... )

On to the Wams...

hsifeng: (www.crackafuckingbook.com)
From: Textile Conservation and Research. A Documentation of the Textile Department on the 20th Anniversary of the Abegg Foundation.
Bern, Schriften der Abbeg-stiftung, 1988

These hats are similar to those found in the excavation of the Mary Rose. They are knit, and are almost the same red color as those I remember from the MR book, "Before the Mast".

The first hat is a part of an overall set of clothing from the Berne Historical Museum. *see full clothing detail here: PANTSDOUBLET* The clothing was originally attributed to Andreas Wild von Wynigen, who fought in at least one battle in 1499 (Dornach). However, the clothing has since been reexamined and it has been determined that this is more likely a reproduction by other members of the von Wyningen family - specifically a grandson who was a tailor and who may have made the set as a 'historical costume' for himself.

So, if you make the same set of clothing, you at least will be copying a reenactor from the 16th C! *grin*

I really do need to learn how to knit... )
hsifeng: (www.crackafuckingbook.com)
Textile Conservation and Research. A Documentation of the Textile Department on the 20th Anniversary of the Abegg Foundation.
Bern, Schriften der Abbeg-stiftung, 1988

Awhile back I managed to ILL this book (I love my librarians!) - I took a whole lot of photos with the intention of posting them online for discussion and future reading. Then our laptop hard drive died. I lost a boatload of research and articles I have written over the years. But thankfully, all the photos I took of the Abbeg book were still on the digital camera!

So, now that I have learned my lesson and *will* be webbing my stuff from now on (*beating head against desk*) I am going to start putting up sections from the book for folks to consider and discuss.

I will be breaking this down into 'single subjects so that the number of pictures per entry don't get totally out of hand.

Women's bonnet from Gelterkinden... )

Jousting

Oct. 13th, 2008 09:16 am
hsifeng: (www.crackafuckingbook.com)

This is where my geeky butt is planning to be on November 1st & 2nd: I will be there cheering for our friend Jeff Hedgecock (of Historic Enterprises) and hoping to get a chance to meet Dr. Jeffrey Forgeng to get a book signed and watch the guys from the Royal Armory at Leeds whack each other about!

*cheesy grin*

It's going to be a blast!

hsifeng: (www.crackafuckingbook.com)

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