Live-Blogging Kalamazoo: Thursday 19:30
May. 10th, 2012 09:01 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
hrjDress and Textiles I: Studies in Memory of Verna Rutz
(Opens with a brief summary of Verna's life and work.)
Precious Offerings: Dressing Devotional Statues in Medieval England -- Maren Clegg Hyer, Valdosta State Univ.
Often considered a 16-17th c. practice but some examples as early as 14th c. Germany, or even 11-14th c. England. 11th c. references to statuary dressed in gold and silver. Possibly metallic leaf, as in the 10th c. Golen Madonna of Essen. References to donations of embroidered silk that are unclear whether alter furnishings or statuary drapes. Girdle of gold and pearls placed around a statue, similarly a sword-belt placed around a statue. Some relic-belts still exist that might have been used this way. Crowns might be donated to adorn statues. 12th century references in William of Malmesbury notes a fire that destroyed a cathedal but spared a statue of Mary and the veil that adorned it. Textile donations for statues explode in the 15th century, but at the same time the practice starts coming under criticism. Margery Kempe describes a woman with a statue of the infant Jesus that women would dress up in a shirt and then kiss. So why no surviving examples of statuary ornaments? Some references to statues being taken down for protection from mauraders, but in later times the practice came to be considered suspect and the statues might be taken down and stripped for philosophical reasons. (Note: there are surviving continental examples -- the lack is specifically an English lack.)
Making It Fit: Poetry in Stitches -- Anna Riehl Bertolet, Auburn Univ.
Subtitled "Word and image in Renassance embroidery". Paper explores parallels between the creation of embroideries and the creation of poetry, including structural similarities. The embroidery in question is a band sampler with strips of text between the embroidered bands, with the final part of the sampler being multiple lines of text to complete the poem. Survey of embroideries with text: Bayeux Tapestry (with some embellishments tying parts of the text to referrents in the picture), labels for donors embroidered on altar cloths, etc. Jane Bostocke's 1598 sampler includes names of maker, recipient, and other information. Elizabeth Harborne's 1647 sampler is earliest sampler with text other than identifying information. These early sampler texts are all didactic in nature (that is, other than the identifying information). Increasing numbers of this type of sampler later in the 17th century. The same verse appears on multiple samplers and begins "Look well to that thou takes in hand" perhaps referring directly to the handwork of embroidery. The text is formed by different types of stitches in each row of text, increasing in intricacy and difficulty in parallel with the non-text stitching. Perhaps reflecting a graduated increase in ability as the maker works along. The specific work in focus in this paper has a more elaborate verse (possibly original to the maker or the maker's teacher?) unique to this item. The content of the verse suggests an older maker (not adult, but perhaps older teenager?), using the langauge of reflection. The verse also suggests a maker who is on the verge of going out to make her own living in the world, presumably by doing or teaching embroidery. There is a certain criticism of the experience of learning and this may tie in with the absense of a maker's name as part of the composition (which is otherwise typical). The paper argues that the poem may have been composed during the course of the work on the embroidery, as the text is initially spaced evenly between the decorative bands, with each text line forming a single line of the verse ending in a rhyme. But getting towards the end of the cloth, the words start creeping over to fill empty space, the text size increases and decreases again, and the synchronization of the verse lines with the space disappears entirely. There are about 8 text lines in a block at the end with no decorative strips. It appears that the poem was intended to be shorter but was extended when there was extra fabric. Also, the first 6 lines are fit in with homage to a teacher's direction but as the structure of the sampler breaks down, the text grows more focused on the expression of expected autonomy and a critique of studenthood. At the end, the text decreases significantly in size to allow the fit of a total of 13 poetic lines in total, but it also returns to more virtuous expressions of piety.
(I confess I was skeptical about the whole idea of the text/embroidery parallels at the beginning of the paper, but I became convinced that this is an intriguing and likely interpretation.)
Inventing the Wheel, Again: Returning to the Late Elizabethan Farthingale -- Robin Netherton
(The topic is one that Robin and Verna began exploring together 20 years ago.) The study began as part of a school presentation of 16th c. costume, when the addition of a "wheel farthingale" to the presentation raised interesting questions. The chaacteristic silhouette became common in England in the late 16th c, supplanting the cone-shaped Spanish farthingale and it's evolution into a more bell shape inthe 1570s, possibly by addition of a padded roll or to padding stitched into the pleates of the skirt. The "French farthingale" seems to have evolved as the padded roll without the cone-shaped hoop underneath. The roll might add bulk all around the waist or only around the hips but not in front. At a similar time, the skirts might be shortened into a "frounce" to take up the part of the skirt that would otherwise drag (due to the lack of the hoop), but then it came to be a puffy or pleated flounce all the way around the skirt, creating a sort of "shelf" on top of the roll. This creates the illusion that the skirts form a cyllinder out from the hips, resulting in modern researchers postulating a special "drum farthingale" undergarment of similar silhouette. But this structure doesn't match the evolution and doesn't work well in practice as a garment. Similarly, superficial appearance suggested the frounce as a separate garment sitting over the skirt (again, assuming you don't trace the development). Instead, the effect seems to have developed by tucking up the skirt all around above the padded roll and then arranging it either as the puff or in pleats, but this then requires extensive arranging and fastening in place each time the garment is put on. The idea of a "wheel farthingale" also fails in the absense of a sharp edge and consistently flat top surface.
So how was it done? We have contemporary patterns for cone-shaped Spanish farthingales. There are plenty of clear records for the use and nature of padded rolls, stuffed with cotton, and at least one engraving showing rolls being tied on under the over-skirt. But there is no contempoarary evidence that suggests anythign resembling a "wheel farthingale". Though there are a few references to "wheels" by casual observers of the style, the term isn't used by clothiers or wearers of the indicated style. Only one image suggests a special undergarment: a sketch of satirical male dancers mocking women's styles, with two wearing "women's" styles and several wearing what appears to be a stiffened "top only" skirtlet with women's garments above the waist and men's below. This is highly questionable as a depiction of the actual underpinnings used by women.
Most styles evolve naturally from existing styles and practices, so can the "wheel" effect be created using solidly documented underpinnings and simple manipulations. The undergarment is simply a large padded roll. The frouce is pinned in place using the roll as a pincushion with the weight of the skirt holding the pins in place. All the various variations can be produced from this basic arrangement.
(picture to be added later)
(Opens with a brief summary of Verna's life and work.)
Precious Offerings: Dressing Devotional Statues in Medieval England -- Maren Clegg Hyer, Valdosta State Univ.
Often considered a 16-17th c. practice but some examples as early as 14th c. Germany, or even 11-14th c. England. 11th c. references to statuary dressed in gold and silver. Possibly metallic leaf, as in the 10th c. Golen Madonna of Essen. References to donations of embroidered silk that are unclear whether alter furnishings or statuary drapes. Girdle of gold and pearls placed around a statue, similarly a sword-belt placed around a statue. Some relic-belts still exist that might have been used this way. Crowns might be donated to adorn statues. 12th century references in William of Malmesbury notes a fire that destroyed a cathedal but spared a statue of Mary and the veil that adorned it. Textile donations for statues explode in the 15th century, but at the same time the practice starts coming under criticism. Margery Kempe describes a woman with a statue of the infant Jesus that women would dress up in a shirt and then kiss. So why no surviving examples of statuary ornaments? Some references to statues being taken down for protection from mauraders, but in later times the practice came to be considered suspect and the statues might be taken down and stripped for philosophical reasons. (Note: there are surviving continental examples -- the lack is specifically an English lack.)
Making It Fit: Poetry in Stitches -- Anna Riehl Bertolet, Auburn Univ.
Subtitled "Word and image in Renassance embroidery". Paper explores parallels between the creation of embroideries and the creation of poetry, including structural similarities. The embroidery in question is a band sampler with strips of text between the embroidered bands, with the final part of the sampler being multiple lines of text to complete the poem. Survey of embroideries with text: Bayeux Tapestry (with some embellishments tying parts of the text to referrents in the picture), labels for donors embroidered on altar cloths, etc. Jane Bostocke's 1598 sampler includes names of maker, recipient, and other information. Elizabeth Harborne's 1647 sampler is earliest sampler with text other than identifying information. These early sampler texts are all didactic in nature (that is, other than the identifying information). Increasing numbers of this type of sampler later in the 17th century. The same verse appears on multiple samplers and begins "Look well to that thou takes in hand" perhaps referring directly to the handwork of embroidery. The text is formed by different types of stitches in each row of text, increasing in intricacy and difficulty in parallel with the non-text stitching. Perhaps reflecting a graduated increase in ability as the maker works along. The specific work in focus in this paper has a more elaborate verse (possibly original to the maker or the maker's teacher?) unique to this item. The content of the verse suggests an older maker (not adult, but perhaps older teenager?), using the langauge of reflection. The verse also suggests a maker who is on the verge of going out to make her own living in the world, presumably by doing or teaching embroidery. There is a certain criticism of the experience of learning and this may tie in with the absense of a maker's name as part of the composition (which is otherwise typical). The paper argues that the poem may have been composed during the course of the work on the embroidery, as the text is initially spaced evenly between the decorative bands, with each text line forming a single line of the verse ending in a rhyme. But getting towards the end of the cloth, the words start creeping over to fill empty space, the text size increases and decreases again, and the synchronization of the verse lines with the space disappears entirely. There are about 8 text lines in a block at the end with no decorative strips. It appears that the poem was intended to be shorter but was extended when there was extra fabric. Also, the first 6 lines are fit in with homage to a teacher's direction but as the structure of the sampler breaks down, the text grows more focused on the expression of expected autonomy and a critique of studenthood. At the end, the text decreases significantly in size to allow the fit of a total of 13 poetic lines in total, but it also returns to more virtuous expressions of piety.
(I confess I was skeptical about the whole idea of the text/embroidery parallels at the beginning of the paper, but I became convinced that this is an intriguing and likely interpretation.)
Inventing the Wheel, Again: Returning to the Late Elizabethan Farthingale -- Robin Netherton
(The topic is one that Robin and Verna began exploring together 20 years ago.) The study began as part of a school presentation of 16th c. costume, when the addition of a "wheel farthingale" to the presentation raised interesting questions. The chaacteristic silhouette became common in England in the late 16th c, supplanting the cone-shaped Spanish farthingale and it's evolution into a more bell shape inthe 1570s, possibly by addition of a padded roll or to padding stitched into the pleates of the skirt. The "French farthingale" seems to have evolved as the padded roll without the cone-shaped hoop underneath. The roll might add bulk all around the waist or only around the hips but not in front. At a similar time, the skirts might be shortened into a "frounce" to take up the part of the skirt that would otherwise drag (due to the lack of the hoop), but then it came to be a puffy or pleated flounce all the way around the skirt, creating a sort of "shelf" on top of the roll. This creates the illusion that the skirts form a cyllinder out from the hips, resulting in modern researchers postulating a special "drum farthingale" undergarment of similar silhouette. But this structure doesn't match the evolution and doesn't work well in practice as a garment. Similarly, superficial appearance suggested the frounce as a separate garment sitting over the skirt (again, assuming you don't trace the development). Instead, the effect seems to have developed by tucking up the skirt all around above the padded roll and then arranging it either as the puff or in pleats, but this then requires extensive arranging and fastening in place each time the garment is put on. The idea of a "wheel farthingale" also fails in the absense of a sharp edge and consistently flat top surface.
So how was it done? We have contemporary patterns for cone-shaped Spanish farthingales. There are plenty of clear records for the use and nature of padded rolls, stuffed with cotton, and at least one engraving showing rolls being tied on under the over-skirt. But there is no contempoarary evidence that suggests anythign resembling a "wheel farthingale". Though there are a few references to "wheels" by casual observers of the style, the term isn't used by clothiers or wearers of the indicated style. Only one image suggests a special undergarment: a sketch of satirical male dancers mocking women's styles, with two wearing "women's" styles and several wearing what appears to be a stiffened "top only" skirtlet with women's garments above the waist and men's below. This is highly questionable as a depiction of the actual underpinnings used by women.
Most styles evolve naturally from existing styles and practices, so can the "wheel" effect be created using solidly documented underpinnings and simple manipulations. The undergarment is simply a large padded roll. The frouce is pinned in place using the roll as a pincushion with the weight of the skirt holding the pins in place. All the various variations can be produced from this basic arrangement.
(picture to be added later)
