Tuesday, November 20, 2012
Modern drop spinners
I received my copy of the September-October 2012 Natural History Magazine yesterday (their publishing is behind schedule). Usually I read these quickly and toss them. But this issue includes an article about spinners and weavers in South America. The article is called "The Murua Code," by Lynn A. Meisch. It is a fascinating article about saving ancient textiles and tracking down modern textile craftspeople who are still creating the same motifs in the same way, 4000 years later. The article gives a clear explanation of drop spinning, as well as the Andean style of warp-faced weaving. I highly recommend finding a copy of this issue if you have any interest in the uninterrupted history of creating textiles by hand.
Friday, November 9, 2012
What is it?
In 1868 the burial of a wealthy man was uncovered in Mammen Parish, Denmark. The artifacts were disturbed from their resting place, which has made study of the exquisite textiles very difficult. Was the fabric from a cloak or a tunic? What was the purpose of the silk strips? And what about those curious triangular pieces? Were they found at the head, the neck, the waist? On top of the body, or underneath? On an outer layer, or an inner layer? We will never know. JJA Worsaae, writing in 1869, suggested they might be from a silk belt. In 1950 Margrethe Hald considered that they may have been a style of filet. Gail Owen-Crocker and the Danish National Museum currently hypothesize that they were cloak ties. I do not claim to be more knowledgeable than these professionals; I am considerably less so. But there are holes in all of these theories that deserve further thought and research.
The idea that these were the remains of a belt or sash seems to have been discarded in the early 20th century because the fabric was thought to be too delicate. But silk is very strong. If the artifacts are remnants from the ends of a sash, the design (decreasing rows of nalbinding) seems to indicate that the middle of the sash would have been only silk, and certainly strong enough to be tied. If it were ceremonial, rather than functional, little stress would have been put on the fabric.
Margrethe Hald agreed with Axel Orlik's idea that the pieces were similar to the design of filets, as seen in other textiles, sculpture and coins. She felt the indentations at the ends of each piece were the indications of remains of hooks which would fasten the ends together. The indentations could just as easily be indications of where fringe or tassels were attached. I have never seen a filet, particularly a cloth filet, designed to fasten in the front. If there had been metal fasteners, I would expect to see some remains of metal, or rust spots. If one takes into account the fact that at least some of the fabric has disintegrated, the piece likely would be too large for a head if the ends were joined in a circle. I agree with the modern thinking that this use is unlikely.
Gail Owen-Crocker compares the remnants to an illumination of Cnut, in the British Museum, and to William on his horse in the Bayeux Tapestry. In the illumination (BM MS Stowe 944 fol. 6) Cnut is shown with a cloak draped over his shoulder with long strips fluttering from what appears to be a piece of jewelry. The strips end in decorative trapezoids. His wife appears to wear a stole that ends with the same trapezoids. In the Bayeux Tapestry, William is shown riding his horse, wearing a cloak with "ties" ending in similar decorative trapezoids. But the pin fastening the cloak is shown at the same time. Later in the Tapestry, William is shown in chain mail. He wears no cloak, but similar tabs are shown by his neck. Are these the same as shown when he is on his horse? If so, they cannot be cloak ties. I look to the part of the Tapestry where Stigand, Archbishop of Canterbury, stands beside Harold, holding a maniple. To me, the design of that maniple looks much more similar to the Mammen artifacts, although the artifacts are narrower.
Where does this leave me? As confused and curious as ever.
The idea that these were the remains of a belt or sash seems to have been discarded in the early 20th century because the fabric was thought to be too delicate. But silk is very strong. If the artifacts are remnants from the ends of a sash, the design (decreasing rows of nalbinding) seems to indicate that the middle of the sash would have been only silk, and certainly strong enough to be tied. If it were ceremonial, rather than functional, little stress would have been put on the fabric.
Margrethe Hald agreed with Axel Orlik's idea that the pieces were similar to the design of filets, as seen in other textiles, sculpture and coins. She felt the indentations at the ends of each piece were the indications of remains of hooks which would fasten the ends together. The indentations could just as easily be indications of where fringe or tassels were attached. I have never seen a filet, particularly a cloth filet, designed to fasten in the front. If there had been metal fasteners, I would expect to see some remains of metal, or rust spots. If one takes into account the fact that at least some of the fabric has disintegrated, the piece likely would be too large for a head if the ends were joined in a circle. I agree with the modern thinking that this use is unlikely.
Gail Owen-Crocker compares the remnants to an illumination of Cnut, in the British Museum, and to William on his horse in the Bayeux Tapestry. In the illumination (BM MS Stowe 944 fol. 6) Cnut is shown with a cloak draped over his shoulder with long strips fluttering from what appears to be a piece of jewelry. The strips end in decorative trapezoids. His wife appears to wear a stole that ends with the same trapezoids. In the Bayeux Tapestry, William is shown riding his horse, wearing a cloak with "ties" ending in similar decorative trapezoids. But the pin fastening the cloak is shown at the same time. Later in the Tapestry, William is shown in chain mail. He wears no cloak, but similar tabs are shown by his neck. Are these the same as shown when he is on his horse? If so, they cannot be cloak ties. I look to the part of the Tapestry where Stigand, Archbishop of Canterbury, stands beside Harold, holding a maniple. To me, the design of that maniple looks much more similar to the Mammen artifacts, although the artifacts are narrower.
Where does this leave me? As confused and curious as ever.
Thursday, November 1, 2012
tis the season
When it gets to this time of year my thoughts turn to creating Christmas gifts. In past years I have used nalbinding to make gifts with my handspun yarn for friends and relatives - hats, socks, mittens... I decided to use this season as my "excuse" to learn new knitting techniques. I've learned cables and lace knitting (not period, but fun), as well as fair isle and brocade knitting. While I know I will never really knit like a medieval woman (the tiny needles cramp my hands), I enjoy the techniques just the same.
cable and lace scarves - the purple yarn is handspun BFL
fair isle neck warmer using handspun merino (blue) and shetland (white)
brocade knitting - the designs may be period, but my scale is much larger
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