Date: Tue, 25 Mar 1997 05:23:01 -1000
From: Deborah Pulliam
Subject: Janet Arnold's bibliography

Because of some of the confusion over her writing, Janet Arnold asked me to
post her bibliography here for those of you interested in finding some of
the articles, etc. published in the past. Because it is so long, I'm
posting it in two parts. This message includes books, published conference
papers and contributions to exhbition catalogs. The following message will
include articles in periodicals.

And in answer to some of the questions about her background and sewing
skills, she holds a certificate in arts and crafts, a national diploma of
design in dress, a certificate of education, and art teacher's diploma. She
worked for about ten years cutting period costumes and working in the
wardrobes of several theater companies in England. She also has industrial
and couture experience in cutting and sewing. She is not a conservator, nor
is she a curator.

List of Publications: Janet Arnold FSA

BOOKS
[Patterns of Fashion 1] (cut and construction of women's clothing,
1660-1860) --Wace 1964, Macmillan 1972. Revised metric edition 1977.

[Patterns of Fashion 2] (cut and construction of women's clothing,
1860-1940) --Wace 1966, Macmillan 1972.

[Patterns of Fashion: the cut and construction of clothes for men and women
1560-1620] -- Macmillan 1985. Revised edition 1986.

[Perukes and Periwigs] -- HMSO, 1970. A booklet on the development of wig
styles in paintings at the National Portrait Gallery, London.

[A Handbook of Costume] -- Macmillan 1973. Reprinted 1978. A guide to the
primary sources for costume study.

['Lost from Her Majesty's Back']-- The Costume Society, 1980. Items of
clothing and jewels lost or given away by Queen Elizabeth I between 1561
and 1583, entered in one of the day books kept for the records of the
Wardrobe of Robes.

[Queen Elizabeth's Wardrobe Unlock'd] -- W S Maney and Son Ltd, Leeds 1988.
A study of the clothes worn by Queen Elizabeth I, basd on portraits,
warrants for the Wardrobe of Ribes, and other material. Inluces full
transcription of the inventories of the Wardrobe of Robes prepared in 1600,
preserved in the British Library, Public Records Office, London, and the
Folger Shakespeare Library, Washington Dc.

PUBLISHED CONFERENCE PAPERS AND CONTRIBUTIONS TO EXHIBIT CATALOGS

[Costume] -- a general costume bibliography, with Pegaret Anthony. Victoria
and Albert in association with the Costume Society, 1966. Revised 1974,
reprinted 1977.

Two patterns of early 18 century mantuas -- for the London Museum catalog,
[Women's Costume 1600 - 1750], HMSO 1969.

Papers in the proceedings of the annual Costume Society conference:
"The Cut and Construction of Women's Dress, 1890- 1914", in [La
Belle Epoque], 1967, pp 21-36.
"The Cut and Construction of Women's Dress, 1860- 1890", in [High
Victorian], 1968, pp 21 - 29.
"The Cut and Construction of Women's Dress, 1830- 1860", in [Early
Victorian], 1969, pp 12 - 19.
"The Clasical Influence on the Cut, Construction, and Decoration of
Women's Dress, 1785 - 1820", in [The So Called Age of Elegance], 1970, pp
17 - 23.

"The Dressmaker's Craft", in [Strata of Society], 1973, pp 29 - 40.

"Sweet England's Jewels" and catalog entries for portraits in [Princely
Magnificence], catalog of the exhibition of European Renaissance Court
Jewellry, Victoria and Albert Museum, 1980, pp 31 - 40, 99 - 112.

Research and illustrations contributed to "Il Reauro degli abiti funebri
dei Medici: Studi preliminari", an exhibition at the Palazzo Pitti,
February 1985. Centro Di, Florence, 1985.

"Preliminary investigation into the Medici Graves Clothes", in [Il Costume
nell'eta'del Pinascimento], Edifir, Florence, 1988, pp 149 - 157.

"The Cut and Consturction of Women's Clothes in the Eighteenth Century",
with three patterns, in [Revolution in Fashion 1715 - 1815], catalog of the
exhibition at Kyoto Costume Institute, Japan, 1989, pp 126 - 134.

Editor for English edition of Katia Johansen, [Royal Gowns], exhibition
catalog, Rosenborg Palace, Copenhagen, 1990.

"Smocks, shirts, falling bands and mantuas", a paper on evidence of early
ready-to-wear clothing, [Per Una Storia della Moda Pronta: problemi e
richerche] Atti del V Convegno Internazionale del CISST, Milano, 26-28
Febbrario 1990, Florence, 1991, pp 17 - 27.

"Queen Elizabeth's Jewels" in [The International Silver and Jewellry Fair
and Seminar], London 1991, pp 35 - 36.

"Clothes from the Point of View of the Historian" in [Bevarandets
Hemlighet: The Secret of Preservation Revealed], catalog of the exhibition
at the Livurstkammaren, Stockholm, 1991, pp 41 - 44.

"Cut and Construction", in [Moda all Coret edi Medici: gli abiti restaurati
di Copsimo, Eleonora e Don Garzia], catalog of the exhibition at the Pitti
Palace, Centro Di, Florence, 1993, pp 49 - 73.

Catalog entries on wigs and items of dress in [The Funeral Effigies of
Westminster Abbey], Woodbridge, 1994.

"Liveries at the Court of Queen Elizabeth I" in [Le Trame della Moda], atti
del Seminario Internazionale svoltosi a Urbino il 7-8 Ottobre 1992 promosso
dal Centro Italiano per lo studio della Storio del Tessuto e dal Centro
Studi sulle Societa d'antico Regime Europa delle Corti, Bulzoni, Milan,
1995, pp 253 - 274.
------------------------------------------------------------------------------
Date: Tue, 25 Mar 1997 05:23:04 -1000
From: Deborah Pulliam
Subject: j. arnold's biblio part 2

List of Publications: Janet Arnold FSA

PERIODICAL ARTICLES
"A silver tissue dress c 1660, from the Museum of Costume, Bath" in
[Costume].(the journal of the Costume Society), London (first series), #2,
1966.

"An evening dress of 1893, from the London Museum" in [Costume], London,
first series, #3, 1966.

"A wedding dress worn by Princess Sophia Magdalena in 1766" in {Costume],
London, new series, #1, 1967, pp 17 - 21.

"A caftan said to have been worn by Selim I (1512 - 20)" in [Costume],
London,#2, 1968, pp 49 - 52.

"A pink silk domino from the Victoria and Albert Museum, c. 1760 - 70" in
[Costume], London, #3, 1969, pp 31 - 34.

"A mantua c. 1708 - 09, from Clive House Musuem, Shrewsbury" in [Costume],
London, #4, 1970, pp 26 - 31.

"A study of three jerkins" in [Costume], London, #5, 1971, pp 36 - 45.

"The exhibition of costumes for the BBC/TV series 'The Six Wives of Henry
VIII' and 'Elizabeth R', in [MAG], No. 10, Transactions of the Museum
Assistants' Group for 1971, pp 7 - 14.

"A court mantua of c. 1740" in [Costume], London,#6, 1972, pp 48 - 52.

"A court mantua of c. 1760 - 65" in [Costume], London, #7, 1973, pp7 - 14.

"Sir Richard Cotton's suit" in [The Burlington Magazine], CXV, no. 842, May
1973, pp 326 - 329.

"Three examples of late sixteenth and early seventeenth century neckwear",
in [Waffen-und Kostumkunde], Munich, vol. 15, part 2, 1973, pp 109 - 124.

"Reminiscences of a Court Dressmaker" in [Costume], London, #8, 1974, pp 22
- 25.

"Decorative features: pinking, snipping and slashing" in [Costume], London,
#9, 1975, pp 22 - 26.

"An Edinburgh tailor's story" in [Costume], London, #10, 1976, pp 74 - 85.

"Fashions in Miniature" in [Costume], London, #11, 1977, pp 45 - 55.

"Elizabethan and Jacobean smocks and shirts" in [Waffen-und Kostumkunde],
Munich, vol. 19, part 2, 1977, pp 89 - 110.

"Nils Sture's suit", [Costume], London, #12, 1978, pp 13 - 26.

"The 'Coronation' portrait of Queen Elizabeth I", [The Burlington
Magazine], CXX, no. 908, November 1978, pp 727 - 241.

"Two Early Seventeenth Century Fencing Doublets" in [Waffen-und
Kostumkunde], Munich, vol. 21, part 2, 1979, pp 107 - 120.

"Jane Lambarde's Mantle" in [Costume],. London, #14, 1980, pp 56 - 72.

"A Sack Gown from the Haddington Collection at the National Museum of
Antiquities of Scotland, Edinburgh" in [Studies in Conservation], no. 25,
1980, pp 19 - 27.

"An Early Seventeenth Century Woman's Riding Doublet or Cassock" in
[Waffen-und Kostumkunde], Munich, vol. 22, part 2, 1980, pp 113 - 128.

"A Woman's Doublet of about 1585" in [Waffen-und Kostumkunde], Munich, vol.
23, part 2, 1981, pp 132 - 142.

"The 'Picture' of Elizabeth I when Princess" in [The Burlington Magazine],
CXXIII, no. 938, May 1981, pp 303 - 304.

"A Labour'd Hoop to ornament the Fair" in [The Journal of the International
Association of Costume], Tokyo, #2, 1985, pp 6 - 12.

"A court mantua from the Haddington Collection in the Royal Museum of
Scotland, Ediburgh, in [Waffen-und Kostumkunde], Munich, vol. 28, part 1,
1986, pp 37 - 48.

"The Golden Gown of Queen Margareta in Uppsala Cathedral", long review with
evidence for redating from 1363 to c. 1469, in [Waffen-und Kostumkunde],
Munich, vol. 29, part 2, 1986, pp 148 - 151.

"The 'Armada' portraits of Queen Elizabeth I" in [Apollo], Vol. CXXIX, no.
326 (new series), April 1989, pp 242 - 246.

"A study of the clothes and regalia depicted on the tomb of Queen Elizabeth
I in Westminister Abbey" in [The Journal of the International Association
of Costume], Tokyo, #7, 1990,. pp 11 - 28.

"Dolphins and Flaming Hearts" in [Haandorbejdets Fremme: The Danish
Handcraft Guild], vol. 57, no. 2, 1991, pp 31 - 33.

"The Kirtle, or Surcoat, and Mantle of the Most Noble Order of the Garter
worn by Christian IV, King of Denmark and Norway" in [The Antiquaries
Journal], vol. 72, 1992, pp141 - 167.

"The Jupon, or coat-armor, of the Black Prince in Canterbury Cathedral" in
[Church Monuments], the Journal of the Church Monument Society, VIII, 1993,
pp 12 - 24.

"Costumes for masques and other entertainments c. 1500 - 1640" in
[Historical Dance], the journal of the Dolmetsch Historical Dance Society,
3, no. 2, 1993, pp 3 - 20.

"A Prelate's robe for the Most Noble Order of the Garter worn by the Right
Reverend Sir Jonathan Trelawney 3rd Bart., Lord Bishop of Winchester, in
1707" in [Costume], London, #28, 1994, pp 22 - 36.

"An innovative method for mounting the sixteenth century doublet and
trunkhose worn by Don Garzia de'Medici" with Mary Westerman Bulgarella, in
[Costume], London, #30, 1996, pp 47 - 55.

"The Comte de Toulouse's 'Months of Lucas' Tapestries: sixteenth century
designs with eighteenth century additions" with Edith Standen, in [The
Metropolitan Museum Journal], #31, 1996, pp 59 - 79.

"The Graves Clothes of Ferdinand I of Hapsburg, 1564" in [Costume in
Context], UKIC, Textile Section, postprints of the forum held at the
Guildhall, Bath, 11 March 1996, pp 10 - 11. Edited by Frances Lennard.
------------------------------------------------------------------------------
Date: Wed, 12 Mar 1997 11:12:49 -1000
From: No Name
Subject: Referenced Illuustration about the use of linen,
personal hygiene, etc. (3/8/97)


I am resending this because it has not shown up on the list yet (As far as I
can tell):

I've snipped out of several messages I've received both on the list and
offlist:

I would agree with Teresa ...
> Why would you presume a "crisp" looking dress in an illumination wouldbe
> linen? y
and add ... what is the manuscript illumination you are talking about
as, if you are correct, I'd be very interested.

>>If you have A History of Private Life II, Revelations of the Medieval
World,
that picture is in the center with the other color plates.> >

The subject illustration in "A History of Private Life Revelations of the
Medieval World" could be either a 15th century painting Titled "Le Livre de
la Cite des Dames" on what would be page 263, or an (Illustration?) on the
following page. Its been awhile since I read this book, and I've not
returned yet to the text to find the reference to these paintings. By
refering to "it" as an illustration, I will assume until told otherwise that
that (Nancee?) was writing about the latter, as its subtitle leads one to
believe it was an illustration from an book named "Les Evangdes quenouilles"
(also 15th). At any rate, the picture is of a collection of women spinning.
They appear to all be dressed in white. (Interesting 'belts' on a few of
them) I understand why the drape of the clothing might be interpreted as
being crisp, though it could be just the style of the artist??

The former picture looks like an painting of an imagined city of women. My
french is poor at best, but roughly translated I think it might mean 'a
glance at' or 'a testamonial of' the lives of women. The scene is of 15+
women appearing to present themselves to a collection of (judges?) in the
middle of an extremely forshortened castle courtyard. All the characters are
female. The women appear to be lifting their skirts for inspection. The
focus of interest appears to be the bottom of the outer skirt almost all of
which are trimed with ermine. (At least it looks like white fur with black
teardrops). There are two figures in the "front" who appear to be wearing
brown furlined dresses (or overdresses). No sign of snow or other
'coldness', and they are sitting outside for goodness sakes. Well who knows,
they are all dressed in white too, but does that indicate warmth?

I'd like to thank Nancee for returning me to this book, and refocusing me on
the Illustrations. I had studied the text for a better understanding of what
life might have been like. I looked at the pictures but not closely, and now
am taking great pleasure at a closer look of the illustrations for costuming
purposes. I "missed" out on what a great source they were on the first read
with regard to behaviour at the time.

For those of you bantering about personal hygiene, this text has quite a lot
to say about the fact that bathing might not have been as scarce as comonly
thought.

While I am babbling, there is a wonderful "close up" of two little boys on
page page 260 attendng a weding?? The picture is from said to be from 1474,
and the boys are said to be dressed in the family colours of the da Gonzaga
family. They just might be dressed in crisp lightweight fabric too!!

Looking forward to all comments,

Saragrace T. Knauf
------------------------------------------------------------------------------
Date: Mon, 31 Mar 1997 02:34:47 -1000
From: LYN M PARKINSON
Subject: Re: weaves on web

There are enough questions about fabric and weaves that I thought you
might like to have this reference.

-Poster: [email protected] (Carolyn Priest-Dorman)
Greeting from Thora Sharptooth!

Today I have posted two bibliographies on my website.

"Bibliography of Sources for Information on Period Tablet Weaves"
(http://www.cs.vassar.edu/~capriest/tweavebib.html) is an annotated
bibliography of print resources that deal with tablet weaving during the
period of the SCA.

"Just What Exactly is "Whyt Samyt" Anyway?"
(http://www.cs.vassar.edu/~capriest/textilebiblio.html) is an annotated
bibliography of technical information for handweavers on divers weaves
and setts of the Roman Empire, Middle Ages, and Renaissance.

Both are available from my Textile Resources page,
http://www.cs.vassar.edu/~capriest/textileres.html.

This notice has been posted to the Rialto and the East Kingdom list; I
will also be sending a separate notice to the CARDS e-list. Please feel
free to share this notice more widely.

*****************************************************************
Carolyn Priest-Dorman Thora Sharptooth
[email protected] Frostahlid, Austrriki
Gules, three square weaver's tablets in bend Or
*****************************************************************
------------------------------------------------------------------------------
Date: Tue, 1 Apr 1997 07:34:16 -1000
From: [email protected]
Subject: Re: Blackwork in Spain

Hi!

I wanted to thank all those who responded to my request. I appreciate your time and helpfulness. Several people pointed me to Erica Wilson's book, but I was in fact trying to prove or disprove her assertion that Blackwork came to England with Catherine of Aragon, and another author that questioned whether there was even blackwork happening in Spain at the time.

I am happy to report a clear instance of blackwork (though done in red) in a
painting of the 1490's, seen in Ruth Matilda
Anderson's _Hispanic Costume 1480 - 1530_. And even better,
that painting is in the National Portrait Gallery in Washington,
DC, so I intend to see it with my own eyes on my next business trip there.

Thank you again for your kind help.

Melinda
------------------------------------------------------------------------------
Date: Wed, 2 Apr 1997 09:21:40 -1000
From: Kerri Canepa
Subject: Re: Late 13th Cen: Tunics, "chemises", shirts, and breeches

Dear Donna,

On Tue, 1 Apr 1997, Donna Holsten wrote:

> I'm working on outfits for myself and my husband, dated to 1250 - 1300,
> England/France. I'm trying to get as close as possible with the details,
> but I have some questions that hopefully someone will be able to help
> me with. This is kind of long, so thanks in advance for anyone who slogs
> through it!
>
> Tunics: I'm using the 14-piece "Greenland" pattern. On page 141 of _Buried
> Norsemen at Herjolfsnes_ by Norlund, it says that this type of outfit starts
> being used in France at the close of the 13th Century. And, when I look at
> the pictures, it seems that in fact the tight, wrinkly "bliaut" garments
> have phased out by then, and the tight, smooth "cotehardie" garments haven't
> quite started. The illuminations, etc. from 1250-1300 show people in tunics
> with not-tight-but-not-voluminous "bodices" and fabric flaring out from the
> hips--exactly what the 14-piece pattern will produce.

I'm working on a variation of the "Greenland" pattern that has the gown
made from a bodice with attached skirt. If you noticed in the _Textiles_
book, there's some examples of what they believe to be skirt fragments
which leads me to believe that the gowns were made in different ways. My
pattern has six bodice pieces (two backs and four side/fronts)and eight
skirt pieces (four truncated triangles and four triangular gores). I
wanted to be able to lightly stiffen the bodice to produce the correct
look (a rather high rounded bosom) with out stiffening the whole garment.
With a separate bodice, I am able to inner line it with a light canvas.
Also, the skirt starts flairing a little above the hips which is
something I've seen in early 14th c Italian art.
>
> O.K., so, here are my questions:
>
> Layers: Assuming it was cold enough out, it would be reasonable for a
> woman to wear a wool overdress, wool underdress, and linen "chemise", right?
> And that leads to my second question...
>
Sounds about right. If you're working the fields on a hot day or
assisting madam about the daily household chores, you might just be in
the chemise and one woolen gown. For more formal occasions or cooler
days, other woolen layers would have been added.

> Sleeves: The illuminations/sculptures/etc. from this period show long,
> tight sleeves (which would be sewn shut or buttoned) or sleeveless surcotes.
> I've seen one or two sculptures which show not-too-tight, long sleeves, with
> what looks like a "bliaut" type underdress. (Wrinkled, tight sleeves.)
> *However*, _Buried Norsemen_ has several examples of "short-sleeved" tunics,
> that look like they have about elbow length sleeves. I would *like* to do
> these "short-sleeves" on my overdress, tight sewn/buttoned sleeves on my
> underdress, but I simply haven't seen any illuminations/sculptures like
> that. Slightly later (1300 - 1350), I can find tight "short-sleeves" with
> or without tippets, but nothing from 1250 - 1300.

Long, yes, but tight? I'm not so sure. When I looked through a book I
have on the Luttrell Psalter which is early 14th c shows sleeves that
were often somewhat loose in the upper arm and could be tight or somewhat
loose on the lower arm. I figured anyone with buttons on the lower sleeve
must have some pretty tight sleeves on. There's some early tippet like
sleeves too which look like the sleeve was split anywhere from above the
wrist to the elbow. These split sleeves look rather long on other
garments. I'm trying to remember where I ran across shorter sleeves on
over garments but I can't think of it just now. Might have been German or
that neck of the woods. I probably saw this shorter sleeve from art where
there are several women in a variety of ages are presented. The gown I'm
remembering was somewhat full and unbelted and the lady had her head all
wrapped in a wimple and veil. She was obviously older as there were other
women wearing the tighter bodied gowns with hip belts and their hair was
long and loose and they had wreaths or something like that on their
heads. Wish I could remember where I saw it. That's not exactly what I'd
call evidence to support the wide use of shorter sleeves but you said
there was some evidence in Denmark. Here's my guess; for everyday wear,
when two woolen layers were necessary, the upper layer had shorter
sleeves so you didn't have to worry about getting them into what ever you
were putting your hands into. I don't think you could get away with it as
fashionable clothing until the split sleeve/tippet comes around.
>
> Chemises/shirts: I imagine that doing a linen "bliaut" as a "chemise"
> would be appropriate for this period? Would it also be appropriate to do a
> "geometric" linen chemise/undershirt--specifically, the one on page 177 of
> _MOL's Textiles and Clothing_? This "tunic" is dated to 1270 or earlier,
> but it's not clear to me if it's an undertunic or overtunic.

Dang, my copy of _Textiles_ is at a friend's house right now so I can't
check the illustration. I think you're referring to Louis the Pious
shirt? The one with the two triangular gussets in the lower center front
and back to provide flair? I believe it's made of linen so it would be an
under shirt. The only problem I have with that pattern is that it doesn't
work for big men and curvy women. Shirts and chemises or shifts seemed to
have had a somewhat geometric construction with round or v necks and
long, close to the arm (but not tight) sleeves. Shirts for men came down
to almost the knees and shifts for women were knee to above the ankle
length. I have chosen to make the pattern from center front and
back rectangles with right angle triangular gores on the sides to provide
some flair with the sleeves set in at right angles to the body. This is
an old tunic style which is still seen in the Middle East and is the
least wasteful of fabric.
>
> Breeches: HELP! I've seen the pictures of men wearing what look like
> baggy "pants" tucked into their hose. (P. 187 of _Textiles and Clothing_,
> for example.) I've been told everything from that these breeches are
> actually just long shirts that are wrapped up and tucked into a waist-cord,
> that they are separate rectangular pieces of fabric folded up somehow, or
> that they are actually constructed garments like a modern pair of pants.
> For the life of me, I can't figure out how I could fold a piece of fabric
> and make it look like that. My best guess is that they are, in fact,
> constructed garments, with a long waist, which gets rolled around a
> waist-cord. (On page 108 of _Fabulous Feasts_ is a picture of a man "laying
> eggs", with his breeches down around his knees, and it sure looks like a
> regular old pair of baggy pants. Really gross picture, but it does show the
> breeches pretty well.) So, *if* they are constructed, would I just use a
> regular pants pattern? Or are the seams in funny places? And what's up
> with the fact that the cord in the _Textiles_ picture looks like it's tied
> somehow to the leg? And that the leg seams don't look quite sewn shut?

I think that breeches were worn when men were doing something work like;
for example working in the fields or hunting or household chores. I don't
believe this is a garment worn as fashionable clothing. In the fields you
had your tunic hitched up to keep it out of the way and there wasn't much
else there to protect your upper legs and lower torso from brush and
insects. I am surmising of course but I don't reckon having ever seen a
high class gentleman wearing breeches. As to their construction, I have
no idea, sorry.
>
> Hose: And, my last question--I have a pretty good idea of how the lower
> hose are constructed. _Textiles_ covers that pretty well. But what I'm not
> sure of it, is how they are held up. Is that what the string hanging from
> the breeches in the _Textiles_ picture is for--to tie to the hose? Or is
> there a separate string that's tied to something else?

>From what I can tell there was hosen that went up most of your leg and
was tied on an inner belt either on the outside of the body or just on
the front of the hip bones and there were knee hosen which were tied with
garters just below the knee. Later versions of the long hosen show it
being attached directly to a pourpoint or some other foundation garment
but earlier illustrations show them being attached to a belt or something
like that. I can't tell you if this belt was worn over or under the shirt
though.

------------------------------------------------------------------------------
Date: Wed, 2 Apr 1997 09:22:29 -1000
From: [email protected]
Subject: Re: Late 13th Cen: Tunics, "chemises", shirts, and breeches

> Tunics: I'm using the 14-piece "Greenland" pattern. On page 141 of _Buried
> Norsemen at Herjolfsnes_ by Norlund, it says that this type of outfit starts
> being used in France at the close of the 13th Century. And, when I look at
> the pictures, it seems that in fact the tight, wrinkly "bliaut" garments
> have phased out by then, and the tight, smooth "cotehardie" garments haven't
> quite started. The illuminations, etc. from 1250-1300 show people in tunics
> with not-tight-but-not-voluminous "bodices" and fabric flaring out from the
> hips--exactly what the 14-piece pattern will produce.

I have been working with these types of garments for about 4 years
now and I understand exactly what you are asking. You have really
hit the nail on the head with the observation that this gown is the
"transition" style between the Bliaut and the ulta-tight gowns of the
14th century. There are actually 12 different styles that were
excavated and I have made 8 of them, for men and women. Also, I've
made easily 50+ slopers for others to make gowns for themselves.

The drape from the hip is the key, as is the fact that the bodice is
fitted, but not tight. From reading about the era, (remember that
this is Greenland) they really could not work in the body tight
garments.

The cut, don't forget that the cut of the fabric makes all the
difference for the drape. It is the bias to straight seams that
produce that incredible flow from the hip to the ground.

> O.K., so, here are my questions:

> Layers: Assuming it was cold enough out, it would be reasonable for a
> woman to wear a wool overdress, wool underdress, and linen "chemise", right?
> And that leads to my second question...

YEP!

> Sleeves: The illuminations/sculptures/etc. from this period show long,
> tight sleeves (which would be sewn shut or buttoned) or sleeveless surcotes.
> I've seen one or two sculptures which show not-too-tight, long sleeves, with
> what looks like a "bliaut" type underdress. (Wrinkled, tight sleeves.)
> *However*, _Buried Norsemen_ has several examples of "short-sleeved" tunics,
> that look like they have about elbow length sleeves. I would *like* to do
> these "short-sleeves" on my overdress, tight sewn/buttoned sleeves on my
> underdress, but I simply haven't seen any illuminations/sculptures like
> that. Slightly later (1300 - 1350), I can find tight "short-sleeves" with
> or without tippets, but nothing from 1250 - 1300.

Again, yes. Go ahead and wear an outer gown with the shorter sleeves
and then you can layer them according to your need. I have made some
gowns with the shorter sleeves and some with longer ones. Some with
the buttons from the elbow to the wrist and some with none. It
really all depends on what you need and/or want.

I also have made the cloth buttons and hand made button holes. While
I don't suggest this for children garments (it takes longer to make
the gown before the child will out grow it), I would suggest that you
try it. They are a stunning look for the gowns.

> Chemises/shirts: I imagine that doing a linen "bliaut" as a "chemise"
> would be appropriate for this period? Would it also be appropriate to do a
> "geometric" linen chemise/undershirt--specifically, the one on page 177 of
> _MOL's Textiles and Clothing_? This "tunic" is dated to 1270 or earlier,
> but it's not clear to me if it's an undertunic or overtunic.

That is one option. Also, you may make the same pattern of the gown,
only with 2 gores on either side and no center gores. I have found
that this is very comfortable.

> Breeches:

I've never worked with the breeches.

> Hose: And, my last question--I have a pretty good idea of how the lower
> hose are constructed. _Textiles_ covers that pretty well. But what I'm not
> sure of it, is how they are held up. Is that what the string hanging from
> the breeches in the _Textiles_ picture is for--to tie to the hose? Or is
> there a separate string that's tied to something else?

They can hang from a belt or the chemise. I suggest that you try a
pair in muslin and experiment. I personally am just trying this
project, as there are several men around me that now want some.

As a side note, I have been working on a handout that goes into
detail the entire process of constructing these gowns. If anyone is
interested, please feel free to contact me privately. I can go on
for hours about this subject.

Katheryn Nikolich
SCA - Mistress Thorkatla Herjolfsdotter, OP
Shire of Eisental, East Kingdom
------------------------------------------------------------------------------
Date: Wed, 2 Apr 1997 16:05:43 -1000
From: don and carolyn richardson
Subject: Re: Ice Age and Noil



Quoting from James Burke's "Connections" (not a great source but one
that sprang to mind immediately), page 98: "By the beginning of the
1300s some parts of Europe were already living on marginal land,
producing enough to live on but not enough to lay aside for a rainy
day. And that is just what it began to do: rain. Early in the previous
century what was known as the "Little Ice Age" set in . At the start it
manifested itself as uncertain weather. Grain harvests began to fall
short, and then to fail disasterously. There was widespread famine.
All the time the weather got colder: winters became severe, summers
cool. In this weakened state, Europe was ill-prepared to fight off an
invasion - especially as the invader was almost invisible." He then
goes on to describe the first wave of Black Plague, attributing one of
the reasons it was so successful in killing off half of Europe in 150
years.

But judging from this paragraph, the consequences of this cool down
weren't necessarily drastic all over. If you were on marginal land, it
became more marginal and probably unable to sustain farming. I doubt the
Italians and Spanish really felt much change. I rather suspect it had a
great deal to do with where you were living as to how badly you felt
this.

Later in the book, page 157, (discussing this again), he says "Among the
earliest references to the change [ie. the cool down] comes from the
Anglo Saxon Chronicle, kept by monks, for the year 1046: 'And in this
same year after the 2nd of February came the sever winter with front and
snow, and with all kinds of bad weather, so that there was no man alive
who could remember so severe a winter as that, both through mortality of
men and disease of cattle; both birds and fishes perished through the
cold and hunger.' Ice cores taken up by modern scientists from the
isce-caps of Greenland and the Antarctic, containing bubbles of trapped
air, vegetation and organisms from the period, indicate that throughout
the early part of the twelfth century the climatic change really began
to make itself felt, with increasingly uncertain weather, heavy rains,
gales and lower summer temperatures. At the start of the thirteenth
century what is now called the "Little Ice Age" had set in.'

So I'd say it started sometime around mid 1000's, and ended
approximately 1400, although the end and beginning is subject to
conjecture. But the better weather and better food (and end of plague)
would also have contributed to the beginning of the Renaissance.

Carolyn
------------------------------------------------------------------------------
Date: Wed, 2 Apr 1997 16:02:06 -1000
From: [email protected]
Subject: Re: Blackwork in Spain

Gwyn Carnegie recommends several very good books about Blackwork and its
history in her post.

What I have noticed is that the needlework books with an earlier copyright
date (early 1970s and before) tend to credit Catherine of
Aragon with introducing blackwork to England, and the later
books (mid-1970s and more recent) tend to address that theory and then
disagree.
Jane Zimmerman's book, _Blackwork Embroidery Patterns_ c 1985, goes even
further, stating, in reference to Spanish origins of blackwork, that
"It should be noted that this author has never found a piece of this form of
"double-running" blackwork in any museum nor any photograph -- or even a
reference to the existence -- of an extant example in any textile collection,
making it impossible to provide a description of the appearance of the
"blackwork" embroidery of Spain."

I believe her assertion, but that still did/does not document what form (if
not what stitches) blackwork took in Spain (if any) prior to the Infanta
Catalina becoming known as Catherine of Aragon.

Happily, the _Hispanic Costume 1480 - 1530_ book by Ruth Matilda Anderson
does have photos of what may be Spanish "blackwork" (a fair amount was done
in red) and a discussion of the stitches used, from contemporary documents.
I thank the readers of this list for pointing out this book, which I did not
have, but a costumer up the street did.

It is clear that blackwork became popular in Italy and Germany at about this
time, as well. (Sophonisba is a good artist to peruse, as are Rafael and
Holbein). What I was lacking were the specifically Spanish antecedents.
Even the Italian version is sometimes referred to as "Spanish work." So all
fingers pointed to Spain, but little was and is available. It appears that
the Spanish did not have the same tradition of grand, detailed portraits of
the aristocracy that help us chart the progress of blackwork in England.

Thanks,

Melinda
(a.k.a. Eowyn Amberdrake, in Caid)
------------------------------------------------------------------------------
Date: Wed, 2 Apr 1997 09:22:58 -1000
From: Donna Holsten
Subject: Re: Late 13th Cen: Tunics, "chemises", shirts, and breeches

> The cut, don't forget that the cut of the fabric makes all the
> difference for the drape. It is the bias to straight seams that
> produce that incredible flow from the hip to the ground.

Not to mention that it (1), conserves fabric to have one bias edge and one
straight edge on the gores and (2), keeps the hem from sagging--the bias
edge wants to stretch, but the straight edge doesn't. (I was actually
*amazed* at the conservation of fabric this pattern uses. When I first
looked at it, I thought that I'd have a ton of scraps left over. But, by
putting the gores one-edge-bias and one-edge-straight, you have almost
perfect triangles which can be laid out into rectangles.)

> Again, yes. Go ahead and wear an outer gown with the shorter sleeves
> and then you can layer them according to your need.

Have you seen any sculptures/illuminations showing people wearing the loose,
short sleeves? (Particularly from England/France?) I'm assuming that in
the sculptures with long, loose sleeves, with wrinkly, tight underdress
sleeves showing, the underdress is a linen gown, not wool--but if it was a
wool gown, that would solve my problem, too.

Donna
------------------------------------------------------------------------------
Date: Sun, 6 Apr 1997 03:50:52 -1000
From: LYN M PARKINSON


Dave,

>>If you do want the folds to fall naturally ... expand the centre of the
4 panels of the gown rather than the sides ... it is simple & it works,

Do you do yours by cutting up the center of the fabric panel in its
middle, and inserting triangular gores? How far, if so? Floor to knee,
hip, waist, shoulder?

Margaret Scott's _Late Gothic Europe, 1400-1500_ has pictures of every
sort of pleat in the doublets and gowns. Some of them seem to have a
center which is deeply pleated, with smooth sides, indicating that the
pleating is in separate front panels, and others, later, have the
reverse, with a smooth front and deep pleats at the side front. There
are pretty clear examples, too, of smooth yokes, with deeply pleated
panels sewn to them. Verocchio's _Tobias and the Angel_ in the National
Gallery in London shows the smooth yoke, smooth sides, and pleated front.
It has a fur lining or edging, and appears to be sleeveless, or with
sleeve rolled up, the velvet sleeves covering the arms having different
texture, weight and luster.

One of the Ursin family has a huge gown--he's not small, himself--which
she says, and seems to be correct from the painting, has the velvet (or
wool or silk) pleated in the shoulder seam. The pleats are not deep
enough to have included the fur lining, which must have had a smooth
line. If you picture a straight or A-line fur coat, inside out, and
attach the velvet gown to it, with tacks at the waist to hold the pleats
in place, you can get the right look. Padding might have referred to a
stiff interlining in parts of the gown, rather than zn actual cotton
wadding, such as in arming jackets. Some gowns, though, had to have had
a lot of padding to look the way they do, dwarfing the wearer inside.

The retaining stay tape seen in a few Italian paintings might have been a
necessity in a gown without a heavy lining or interlining. Italian gowns
in summer would have needed to be lighter in weight and warmth than the
northern European ones. Perhaps the heavier velvet would tend to rip
away the thin silk lining as people moved in their clothes?

I agree that there is no single style. You can see all sorts of
variations in a good selection of costume and art books.

Allison
------------------------------------------------------------------------------
Date: Mon, 7 Apr 1997 05:09:55 -1000
From: LYN M PARKINSON
Subject: Re: Houppelande, 1443 [long answer]

Greetings, Saragrace

There is a color picture of this in Herald, Jacqueline. _Renaissance
Dress in Italy 1400-1500_. The History of Dress Series, gen. Ed. Dr.
Aileen Ribeiro, Bell& Hyman, London. 1981. Humanities Press, NJ. ISBN 0
391 02362 4, color plate 4, p. 56.

On Sun, 6 Apr 1997 09:50:39 -0400 No Name writes:
>I have several questions which I would love to have your esteemed >input
on.> After pouring through references to decide on a costume for myself,
>came>across one I would love to make for a man. It is referenced in
"The >History>of Costume" by Blanche Payne. In the 1992 Edition (Its
first >publication was>in 1918!) on page 220, there is a detail from a
fresco by Domenico di>Bartolo, "Rector of Hospital Receiving Privileges
from Pope Celestine >III,>1443. The text describes this as an Italian
Houppelande, knee length, >in>white silk patterned in a golden-green,
lined and banded with fur.
>(The>authors make a note that frescos were a key source of information
>about>Italian costume, but that the colours were depicted much more
softly >that the>actual textile colours) Anyway, this costume appears to
have the >organ-pipe>folds and is snugly fitted at the waist. ( I sure
would like to know
>how>they got all that fullness in the "skirt" without any bulk at the
top, >and no>apparent yoke)<<

They got the fullness in by inserting gores. As the pleats break up the
pattern of the silk brocade, we can not be sure that the pattern was well
and carefully matched, but we would expect it to be matched as well as
possible when a triangle is inserted into a cut in a panel of cloth or
into the seam of two panels of cloth. Straight edges--with the
grain--are matched to bias edges. If you match two bias edges, you get
stretch or sag. The triangle can be cut in one piece, or two triangles
can be joined to make the insert.
As the fur lining is thick, stay tapes are not used to control the
pleats. They are tacked to the fur. The fur lining of the body, of
course, is not pleated as the brocade is. It is possible that although
the sleeves are completely lined with fur, since they show, the fur at
the hem of the body of the cioppa (it's not really a houppelande, 1443 is
too late for houps) is added as a band. Since we see the indentation of
the stitching line, that is what I think has been done. The pleats, then
would be tacked to whatever is used as interlining, or possibly made
through all thicknesses of cloth. The fur showed where it showed, and
was faked where it didn't.

>> Now, Finally for my question. The authors refer to >sleeve>fullness
(his right??) massed at the armscye. To me this does not >appear to>be a
sleeve at all. His left hand is postured on his hip; here he
>clearly>has a close fitted sleeve which shows a little ruff at the cuff
(his >shift?)<<
An Italian man's shirt is called camicia. (camisa/female). The edge of
the sleeve is not yet a ruff, just a sort of bunching as a result of the
tightness of the doublet sleeve. As we don't see buttons, it was
probably sewed closed.
> >I think the gathering on his right shoulder is the right side of a
>circular>"cloak" (with arm slits?)that he has thrown over his shoulder
on the >right>and opened on his left. <<

Not a cloak. These are sleeves. The right sleeve can be seen to be
deeply pleated at the top of the armscye. The left sleeve is lifted up,
baring the lower portion of the doublet sleeve. This style is called
'togata'. The Siennese were ostentatious in dress. Look at the man
standing behind the Pope. He also wears his left sleeve togata. The
front of the cioppa is smooth across the chest, the fabric expanding (if
examined flat) until he, too, has pleats at the waist. The pleats at the
back of the chioppas appear to be deeper than in the front, which would
be more comfortable and easier to move in and bend. They didn't always
care about that.
There was a law in Pistoia, in 1420, that prohitited sleeves being more
than 5 arm lengths (i.e., 5 yards) around at the bottom. Your painting
is 1443. Actually, I don't think that sleeve would be more than 3 yards
around at the hem.
>> The outside of the cloak almost looks like a >plaid<<
The lines that make you think 'plaid' are the squares of skins of the fur
lining the sleeves. In color, you can see it clearly. The dark brown
fur around the front of his neck can be seen to be either a pet ferret or
a flea fur. The tail is too bushy, really, for a ferret. The critter
wears a gemmed collar, but the dead ones had those made for them, too.
Lady Tirza, EK, has a mink with gemmed collar and gold chain 'leash' with
which he dangles from her belt. The fresco looks a lot like 'Rufus'.
>(my picture is black and white), while the inside (of the cloak and
>the>outside of the rest of the garment) look like scroll work.>Does
anyone have a colour copy of the picture?>Does anyone know of a pattern
similar to the houppelande itself?>Any conjectures on the draping across
the front (assuming I am right >about>the cloak)?>Any opinions on the
construction of the "cloak".>And finally, if I am ever successful in
recreating this wonderful >thing, is>there a man out there who would
volunteer to wear it for me?>>
You make that, and you'll have no trouble finding a man to wear it for
you! As for a 'pattern', cut the tip of a dixie cup. That's really
about what you're going to have--2 large cones for the sleeves, and a
bigger one for the body. As a help, pleat your sleeve fabric first, then
figure the armscye cut. There are perhaps 12 pleats before it smooths
out for the lower armscye and under arm. How many you make depends on
the thickness of your material and the size of the arm. You have to try
the draping.
>Looking forward to your replies,>Saragrace

Well, I don't know where the first letter went, let's try this again.

------------------------------------------------------------------------------
Date: Tue, 8 Apr 1997 03:08:51 -1000
From: Julie Adams
Subject: Re: C15th Pleated Gowns - was Re:C15th Doublets


>Hanna replied ...
> > Hmmm...that makes me think of the pleats on mid 15:th c. jackets. I'v
> > been pondering upon the best possible way to construct them. Any tips
> >
> > And I'm also a bit confused by the number of variations: where the
> > pleats only fall from the shoulders, and where they fall from the
> > entire chest, and where they are fixed at the waist...

I've had some good luck using the organ-pipe technique described and
diagrammed in Blanche Payne - A History of Costume FIRST EDITION (second
edition drops the important diagram) used in construction of military
bases. This technique transfers to various pleated 15th and 16th c gowns
and robes very well.. The pleats are constructed from a pattern based on a
circle or wide gores. They are lined with something which gives them body.
I usually use canvas or a heavy denim as a lining. The stiffer the body,
the more "perfect" your pleats become. The inside fold of each pleat is
pinched into a seam. This causes the precise pleats. (As an easy model of
what pinching does, take a piece of paper, fold it lengthwise 2 times in
the same direction. On the outside of each fold, staple it 1/4" from the
edge all along the folds. staples should be on the same side of the paper.
Now lay in down on the table staples down, and squinch the sides in.. You
should get 3 arches of paper looking like tubes from the top...) bad ascii
drawing:
    ____    ____   _____
  /      \ /     \/     \
 |        |       |      |
Each seam is held with rows of stay tapes on the inside of the garment to
hold the pleats in place. It would be possible to sew this to a base
garment, but it would need to be done by hand because the pinched parts of
the pleats need to be perpendicular to the body. In a gown each pleat would
look like a piece of pizza with the tip cut off, each pleat rays out from
the waist to hem in even chunks.

I have had good luck with several waffenrocks and a houpelandes and have
taught this technique at two Costume Colleges. I have a pamphlet almost
done now for 8 months showing how to do it, but just haven't gotten to
it...

Unfortunately it is not very easy to describe in text with no graphics, but
it does not require padding and can either be made as a yokeless gown or as
a pleated piece attached to a yolk.

Hope this helps..

Julie Adams
------------------------------------------------------------------------------
Date: Mon, 7 Apr 1997 05:09:13 -1000
From: LYN M PARKINSON

Greetings Gail,

>>. I have just had to returnMargaret Scott's "Late Gothic Europe" to the
library<<

This is an invaluable book. For that reason, it will be hard to find. I
was told some years ago that it is just too expensive to reprint, along
with the other one in the History of Dress Series, Jacqueline Heralds'
Renaissance Dress in Italy. These are very good sources. Not perfect,
for the re-enactor, as they don't give patterns or actually reconstruct
or examine minutely the existing examples as Janet Arnold has done. But
put out a search with your favorite 2/4 bookfinders and you may get
lucky. Do you know Scott's _A Visual History of Costume, The Fourteenth
& Fifteenth Centuries_. Batsford, UK, 1986. ISBN 0 7134 4857 1? That
one has a picture per page with her commentary below it. Almost all
black and white. In the same series is Jane Ashelford's _The Sixteenth
Century_., as well as later ones for our 17-20 C. friends.

>>How did thelong sleeves attach? The painting did not give any clues.
Pins? Buttons? Hooks? How about the long "cuffs" -- were they entire
sleeves, or just cuffs that attached to the inside of the outer sleeve?
How? I am *assuming* that the foot or so deep hem band was actually sewn
to the dress and the stitches were ripped out when it was time to replace
it. To me, this is more "replacable" than "detachable," but perhaps I am
wrong and it was attached some other way.<<

Women needed masses of pins to get dressed, according to a number of
contemporary accounts. The sleeves might have been pinned, might have
been sewn. Yes, the wrists were actually sewn closed. Probably was hard
on the fabric, but it kept you from going to hell by exposing your arms,
or, even worse, giving in to your ungovernable lust, sinful women that we
are, by making it easy to get out of the gown. The priests, bless 'em,
haven't figured out that with the wide skirts and no underwear we can sin
without bare wrists. Shhhh! Don't tell!

In some cases, the fancy lower sleeve was sewn--basted, probably--to the
short sleeve of the kirtle. Otherwise, could be pinned or tied. If you
only had one kirtle and one pair of fancy sleeves, you could make a
permanent seam, I guess. As to 'replaceable' versus 'detachable' I think
it's just a matter of preference. Same critter.

Van der Weyden's Magdalene is more than just costume--the fact that she
had not attached the under sleeves, much less put on her overgown, is a
signal to the viewer of the depth of her grief and distress. She's
saved, now, and not going to hell, but STILL forgets to dress properly to
go out in the street. That's REAL emotional distress. Of course, it's
also a good chance for the artist to do a great costume display while
he's telling us the significance.

I can't find the drapey under sleeves. Are you thinking of the drawing
of Jacqueline of Bavaria fishing in the company of her mother, etc.? She
and Mom have fancy handkerchiefs tucked into the shift wrists. These are
new, luxurious, and prominently displayed. There's a type of very wide,
drapey chemise sleeve that appears in German costume, but I don't see it
here. That one is like the Italian chemise sleeve, only not pulled in at
the wrist. It does get caught up by ties of the oversleeve along a slit
parallel to the ground if the arm is outstretched. Drags in everything.

I have these books--went to London with my Laurel and Mistress Andreana.
They took me to the bookstore, down the flight of steps into the costume
section, and Regina, with a happily evil grin on her face, walked around
touching sections of shelves, saying, "Look here, Allison...and
here...and here..." But they helped me carry the loot! Can't
remember the name of the store, and they don't have any more of the
History of Dress series. But, I'll look things up for you. ;-)

Allison
------------------------------------------------------------------------------
Date: Mon, 7 Apr 1997 05:10:53 -1000
From: David Key
Subject: Resent mail....

Subject:Re: C15th Gowns - sleeves
Gail

> I hope some of you kind people who have done extensive research on 15t
> century costume can help me with a few questions. I have just had to rturn
> Margaret Scott's "Late Gothic Europe" to the library (interlibrary loa, no
> renewal) before finishing it, so maybe my questions are answered elsewere in
> the book. But I doubt it.

>Several times in the book she refers to detachable parts of gowns. A painting
>of Mary Magdalene, for instance, shows her wearing a short-sleeved gown with
>false long sleeves on her arms but not yet attached.

>My questions is, what does "detachable" mean in these instances? How did the
>long sleeves attach? The painting did not give any clues. Pins? Buttons?
>Hooks? How about the long "cuffs" -- were they entire sleeves, or just cuffs
>that attached to the inside of the outer sleeve?

In several of Memlinc's illustrations (amongst others but these are
often quite clear, a good eg is St Barbara in the Donne Tryptich) the
separate sleeve is attached to the top of the kirtle sleeve with a pin.
Youroriginal painting may actually have the evidence but the pictures are
often too dark to be sure (see below).

I can't recall seeing any womens' gowns or kirtles with a different
colour/fabric for the cuff (except deep purfelling). However this is
a technique used on some male doublets (together with a different
fabric for the collar) & I may just have missed them. Personally I'd
say they are almost invariably full length sleeves attached to a short
sleeve of the kirtle with a pin.

>Also, there were several references to tight sleeves being sewn on every time
>they were worn. Wouldn't that be hard on the fabric? Or does "sewn" mean
>"laced"?
I'd like to see the ref. for this myself.

>Finally, is this the best book on the period, or is there another I should
>look for? If this book is it, I'll check out-of-print book sources for it.
>Does anyone know how hard this one is to find?
I'm not sure about 'best' but it certainly is a very good book. A shame
the illustrations are often too dark &/or black & white & it lacks a
good bibliography (if I recall) but overall it is one of the best
introductions to the subject/period.

Cheers,
Dave
The White Company (1450-1485)
------------------------------------------------------------------------------
Date: Wed, 16 Apr 1997 02:58:39 -1000
From: Gray Hunter
Subject: Re: easy bodice patterns

In a message dated 97-04-14 14:33:53 EDT, you write:

<< I was wondering if anyone had an easy to create or cheap bodice
pattern for a 36D woman. I am looking for the barmaid bodice styles,
usually worn over the peasant shirt. I have the boning, grommets, and
lacing; I just need a pattern! Please help me if you can.
>>
The easiest way to do that peasant corset type thing is to simply make an
arch....the top measurement the bust measurement, the bottom the waist [or 2"
less on both these if you want it to synch & have a gap for the front to lace
across] Make the height of the corset the underarm to waist measurement [take
it where the side seam would be] plus an inch or so. Cut a scoop under the
arm to get it back to the original measurement.....like the bottom of an
armseye. Now make two straps as wide as you like [1'"-2"] make up the body &
put it on the person wearing it. Pin the traps in place....it's the only way
to get it right. They should start in back about 2" to 4" from CB & in front
should come as close to the armseye as possible....you want a wide expanse
across the front. These straps can lace on front or back or both. Also if you
want the CF on the straight of grain [the back should be] you'll have to put
seams somewhere in the sides. Try putting them at the side back [instead of
under the arms] & even these seams can lace. Be sure to put a bone between
the finished edge of the front, back or wherever it laces & the eyelets.
You'll be glad you did. If you want, trapezoidal shaped tabs can go around
the bottom.
Good luck.
------------------------------------------------------------------------------
Date: Wed, 16 Apr 1997 06:46:57 -1000
From: Margo Anderson
Subject: Re: easy bodice patterns

><< I was wondering if anyone had an easy to create or cheap bodice
> pattern for a 36D woman. I am looking for the barmaid bodice styles,
> usually worn over the peasant shirt. I have the boning, grommets, and
> lacing; I just need a pattern! Please help me if you can.
> >>
>The easiest way to do that peasant corset type thing is to simply make an
>arch....the top measurement the bust measurement, the bottom the waist [or 2"
>less on both these if you want it to synch & have a gap for the front to lace
>across] Make the height of the corset the underarm to waist measurement [take
>it where the side seam would be] plus an inch or so. Cut a scoop under the
>arm to get it back to the original measurement.....like the bottom of an
>armseye. Now make two straps as wide as you like

I assume that what you're looking for is a standard 16th century peasant bodice.

The "barmaid's bodice" has been represented in a number of ways, and there's
considerable room for debate as to how authentic any of them are.

The above is a good description of how to pattern a corset styled fantasy
bodice, but if you're looking for a pattern that's closer to the accepted
vision of historically accurate (how's that for PC?) here are some
guidelines:

First of all, it should not be cut straight across your chest, with added
straps like a camisole. The shoulders should be an integrated part of the
garment, like a vest. It should not have darts, princess seaming, gussets,
or anything else to shape your bust. The goal of a bodice is to push your
lower breasts into your chest, causing the upper halves to rise up out of
your bodice ("like two white doves"). It should never, under any
circumstances, have a neckline that hits you below the top of your nipple.
To do so is not only completely innauthentic, but ugly and painful. Oh,
yes, and keep your shift sleeves up on your shoulders- 16th century people
didn't think this was sexy, it was more like having your fly open.)

Luckily there is a pattern available that conforms to the above. It's Alter
Year's Easy Peasant Bodice.It's multisized 4-24, and it's $9--a bargain!
(it takes me almost an hour to custom draft and make a pattern. I charge
$20 an hour, and that's for one size.)

Good luck!

Margo Anderson
------------------------------------------------------------------------------
Date: Fri, 18 Apr 1997 22:27:39 -1000
From: "Jeffrey Hedgecock, Gwen Nowrick"
Subject: Single lace

I've been doing all of my gowns with a single lace for about the last 10
years, and here's what I've learned:

1) Make sure the top pair of holes and the bottom pair of holes are
directly across from each other.

2) If you stagger the holes in between the top and bottom set, the edges
won't have a tendancy to creep out of alignment. If you look *very*
carefully at a lot (NOT ALL) period art, you'll see many of the gowns
(NOT ALL) have staggered holes.

3) Take a double turn through the starting set of holes, and finish with
a double turn through the ending set of holes. This holds the edges in
perfect alignment.

4) Extra long Military boot laces are a good thing to use (although the
color choice is limiting!)

5) Using a "spiral lace" (it even has a name!) allows the edges of your
garment to butt or overlap, preventing "Chemise Gaposis".

Hope this helps!

Gwen
------------------------------------------------------------------------------
Date: Tue, 22 Apr 1997 06:21:31 -1000
From: "Gwyn A. Carnegie"
Subject: The Milanese Tailor's album

I promised I'd report back with the news on the Tailor's Masterpiece book.

So far I have found it at Stanford and at Harvard. I did a quick search through
Princeton and couldn't find a copy. Below is the call outs for both libraries.
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TITLE: Il Libro del sarto della Fondazione Querini Stampalia di Venezia saggi di Fritz Saxl ; Alessandra Mottola Molfino ... [et al.]. (The Book of the Tailor of the Fondazione Querini Stampalia di Venezia/ essay by Fritz Saxl, Alessandra Mottola Molifino ) IMPRINT: Modena : Panini, [c1987] 72 p, 161, [1] leaves of plates : ill, (some col.), col. facsims ; 30 cm.
LOCATION: Art GT964.L52 f
SERIES: Testi /Istituto di studi rinascimentali, Ferara. Testi (Istituto di studi rinascimentali (Ferrara, Italy)
TOPICS: Costume--Italy. Costume--History--16th century. NOTES: Includes a facsimile of: "Il Libro del sarto". Includes bibliographies. anguage: Italian
Year: 1987 Item CSUG90-B36584 (Books) ABS1858 (NOTIS)
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AUTHOR: Fondazione scientifica Querini Stampalia.
TITLE: Il libro del sarto della Fondazione Querini Stampalia di Venezia/ saggi di Fritz Saxl ... [et al.].
PUB. INFO: Modena : Edizioni Panini ; [1987]
DESCRIPTION: 72 p., [162] leaves of plates : ill. (some col.) ; 30 cm. SERIES: Testi / Istituto di studi rinascimentali Ferrara
SUBJECTS: *S1 Costume--Italy--History--16th century. *S2 Fashion -Italy. *S3
Italy--Social life and customs.
LOCATION: Widener: Harvard Depository GT964.F66 1987 Consult Circ. Desk for HW810X
Fondazione scientifica Querini Stampalia. Il libro del sarto della Fondazione
Widener: Harvard Depository GT964.F66 1987 *1===> ......................At Harvard Depository. Not checked out. Not all volumes in this library have been barcoded. If this Circulation Display does not show the volume or copy you want, look for it on the shelf. If it is not on the shelf, ask at the circulation desk.
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In this book are:
1 pattern of a large parti-colored pavilion.
4 complete patterns for horse barding.
11 pages of patterns on clothing. 3 of these pages are just sleeve layouts and skirt panels. The other plates are for scholars robes and a man's coat.
3 complete patterns for ecclesiastical

Also in this book are lots of illustrations of masque costumes and some pretty
wild- looking camping compounds featuring large pavillions linked with corridors in various shapes and configurations. There is a short section on banners too.

If you're looking for another "version" of Alcega , this is not it. Alcega is
sterling exception to the base format of this type of manuscript. All in all, it's a pretty standard masterpiece book. The interesting exception is that the church related clothing is in the later plates instead up in the opening plates. This may be just a presentation issue on the part of the biblioteca.

Of the 11 pages of patterns, only 2 pages relate to women's clothing and are the same plates featured in J.Arnold. There other illustrations of clothing (about 25 or so of the top of my head) but the patterns for these are not shown. There are no bodices, doublets, or venetian's patterns represented at all. In a couple of places it looks like there were continuing sections. They were probably omitted for some reason or the plates may have been missing to begin with.

There is about 70 pages of text in italian including the bibliography and footnotes. My italian is worse than my hungarian at the moment (that's pretty bad!!) so if someone is able to translate, I'll be more than happy to forward them the text in an attached file.

Despite my earlier statements about the patterns being bland, there are also some interesting little things going on with collars and revers on the coats.

If there is enough interest, I can scan the patterns in a line art format and scan the color plates in .jpg and pop them up on to my page. I can easily grid them at the same time but this will not be possible until the beginning of May.

Thanks for the patience everybody.... it's been a hectic month!

Gwyn A. Carnegie
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Sacramento, Ca
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Date: Tue, 22 Apr 1997 12:16:06 -1000
From: "Tammie L. Dupuis"
Subject: Milanese Tailor's Album

Hello everyone,

A while back, I requested any information from anyone on the Milanese
Tailor's Album that Janet Arnold referenced in her text, Patterns of
Fashion.
I wanted to share with all of you what I have found so far in an effort to see if it would help my search!

The Library of Congress lists a text called:

Il Libro del Sarto della Fondazione Querini Stampalia de Venezia
ISBN: 8876860983 : L150000
Author: Alessandra Mottola Molfino
1987

I have accessed the Italian University Library located at the
Fondazione Querini Stampalia and they have this text listed as:

A Tailor's Book: From the Fondazione Querini Stampalia in Venice
Essays by Alessandra Mottola Molfino
1987

The manuscript from which the essays are taken resides in the
Manuscriti section of the Fondazione Scientifica Querini Stampalia in
Venice. This is the manuscript that Janet Arnold looked at and copied
for her reference work.

If anyone is able to find this text of essays by Alessandra Molfino in
a library they are accessing, please please please let H-Costume List
know... I got many private emails concerning this search, asking that
information on obtaining a copy be given out when I received it.
Thanks,


Tammie L. Dupuis

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