Sunday, 8 September 2013

Leather helm crest: Part 2 clay model

In order to make a pattern for the leather base, I made a clay model of the crest to pattern from.


I made a stand to support the clay while working. The stand is next to my helm to compare heights. In this picture the stand is too tall.

The image on the left shows the height of the original stand - too large. I would like the crest to sit at the height shown in the second image, so the stand was trimmed.


I used paper and thread to create the basic form of the model. This reduces the amount of clay in the item. If I choose to fire the model it is important to have the walls of even thickness, without air pockets and with good air flow. A solid item of this size will not dry evenly, may crack during the drying process and is not likely to fire without issue. The model can be slid off the wooden stand and the paper pulled out.

The shoulder of this paper model is higher than the base so it can be trimmed to fit the shape of the helm crown.

The clay was worked to ensure an even texture and the removal of any air pockets. 

The clay was pinched off and formed around the base of the model. It was necessary to ensure the walls had an even and sufficient thickness.


The basic badger shape is roughed out.




 Here is the model, waiting to dry. In a day or so, I will use some finer tools to add more detail and clean up the eyes. In few more days it will be ready for me to use it to make a leather pattern.





Leather helm crest : Part 1 planning

In order to make a crest in the manner described by Cenninni, the basic steps are
*cut leather into pieces
*sew the leather into the basic shape of your crest
*shape and harden the leather by filling it with wet sand, drying and emptying out the sand
*cover the leather base with gesso grosso - thick plaster to shape the crest
*cover the simple gesso shape with gesso sottile, which is slower drying so allows finer detailing
*paint the crest
*bingo! You have a crest

In order to cut the leather into the correct pieces, I need to make a pattern. To make a pattern I have decided to make a clay model of the crest. The crest will be a badger, which is the main charge of the Moralez-Beaumont household.

I began by looking at as many images of badgers as possible, from all different angles. I prefer the badger to have its mouth open, but since I would also like to use the clay model to try making a latex/silicone mould, I have created a closed mouth. It will be easier to make a mould with fewer overhangs and I can add a leather lower jaw on the historical crest.





These rough line sketches show me which stripes are which colour, the rough ratios between the snout and the temple, and placement of the eyes. There was a fair bit of variance between each badger, much like the difference between dogs of the same breed. Each sketch was from a different animal but some features were constant - the ears were within the boundary of the black stripes, as were the eyes. Most badgers were giant puffballs of fur, making them a lot less defined than the shape we typically imagine or characterise in drawings. I chose to go for a more defined head, so it would be easily recognisable.

Clothing for 1420-1482: Part 3 Arming jack

This item of clothing is part of the outfit that will be worn with the armour and helm crest. This arming jack forms the layer directly under the torso and arm protection. 




The outer shell was made in 13 pieces - front bodice left and right, back bodice left and right, front peplum left and right, back peplum left and right, front collar left and right and back collar. The outer pieces were cut from lightly fulled grey wool. The torso and peplum were padded with two more layers of undyed wool.

These 3 layers were first held together with stay stitching, as shown in red on the left image.

The 3 layers were then quilted together using a straight stitch, as seen in grey, on the lower right corner of the left image.






 
 To mark the inner quilting, I made a pattern on card and removed the pieces as each was marked in chalk.







Once the outer quilting lines were finished, the edges were graded. This meant trimming the two padding layers back so as to remove the bulk were pieces would be stitched together. Without this step, there could be up to six layers of wool in a seam, which would have made an uncomfortable and visible lump. I was then able to sew the side and shoulder seams through the grey wool, only.

I used a combination of straight, stab and back stitch. Stab stitch was used were it was difficult to insert and recover the needle in a single motion, as it allowed me to have more control over much stitch would be visible from the outside. The back stitch was used to give more strength  in areas that were likely to be under additional strain, such as immediately below the armscye on the side seams and the outer edge of the shoulder seams. Straight stitch was used where ever possible, as it is much faster.
 


When the pieces were joined, the seams were felled. Some were laid to the side, for added strength (if a seam opens there is another row of stitching to hold the pieces together before a hasty repair). Others were opened and flat felled. The decision for which process would best suit each seam was based on how much strain the seam would be under as well as how the pieces naturally sat flattest.

 The seam allowances around the curved armscyes were clipped before flat felling. 



 The lining was made from undyed linen. 






This inner jack was based on the following styles.
 
Boccaccio's Decameron, 1430-40 French translation
This inner jack style is shown several times in this document. Common features include a narrow waist, curved armscyes with straight sleeves (not a wide grande aissette style, as shown in the image on the right), front closure and full length sleeves. The length in this case is to the bottom of the groin. Due to my high waist, although I made my arming jack in the same ratios of bodice : peplum length, this resulted in my jack finishing higher up the body than the one shown above.   


Also shown in Boccaccio's Decameron are these jacks. The brown one pictured on the top is clearly laced up the centre front, with the hose pointed to the lower edge. The blue jack is shown open, with pairs of eyelets stitched down the centre front. It also shows the peaked back collar. The green jack in the lower image shares the peaked back collar and narrow waist. These images show the same 13 panel arrangement I chose to use, though it could be argued that the collar in some images has two back panels. The peach coloured jack on the lower left image shows the hose attached several inches up from the lower hem. Looking back up to the top right Decameron image of the reclining man, we see that the centre front closure is not laced. There is also no lacing visible on the top left Decameron image. Wire hooks and eyes were known to be used as fastenings during this period. I have chosen to use hooks and eyes. I will add eyelets to lace the hose on at a later date. The reclining man has a red collar shown under his outer garment. This seems to be the most common way to see the jack in the Decameron.

1430  There are straight horizontal on the upper thigh of each man, which could be additional articulations on the upper edge of the cuisses or could be representations of horizontal lines on the lower edge of a jack. 

Speaking again of eyelets as closures, there is a range of evidence for their use during the fifteenth and sixteenth century. The following website has a great range of extant and textual resources on hooks and eyes.
The extant jacks and the textual references to jacks in this webpage suggest that pure linen and fabric of a cotton/linen (fustian) blend would be appropriate. I used wool on the outside before I was aware of this information. At the time, I had reviewed a lot of images and the artists appeared to treat the jack fabrics in the same way as other items I knew to be made of wool, such as town robes and women's gowns. Further more, there were some French images showing what seem to be corrizana's with sleeves of matching fabric. As far as I know, the corrizana has no or short sleeves, so hypothesised that it may be possible that the sleeves were from the jack worn underneath, of a matching fabric. I will use cotton/linen, linen or a skin next time.

Interestingly, one of the extant jacks, which is heavily padded, has only 3 pairs of hooks and eyes - one at the neck, one on the chest and waist. I have included *a lot* of pairs up the centre front of my jack, rather like the use on a doublet or gown. Perhaps I will try just 3 pairs next time, though I suspect I will sew eyelets down the front of this jack at the same time I add the eyelets to attach the hose. 

Janet Arnold's 'Pattern's of Fashion' shows two more extant hooks and eyes (pp. 16, 24), though these are not on jacks and are from a later time.

The webpage refers to an Italian item with hooks and eyes.

The woman on this page says she has an extant hook and eye. I would love to see it.

France, 1440  This beautiful brigadine (which can't be a corrizana, I am told, because corrizana means 'little breastplate' which this does not have) is pretty much exactly what I want. I believe that any arming jack under it would be shorter than the maile shirt or would be visible at the hem. 

And finally, for your entertainment, here is a pourpoint, which I may consider wearing under (seems the logical way, and I have spoken to a re-enactor recently who wears hers like this) or over (because that may explain the different coloured sleeves seen on these items) my jack to point my leg harness to. 

Wednesday, 21 August 2013

Clothing for 1420-82 in the low countries: part 2 Women's hosen

This is a guide to show you how I make my hosen. This pair were made for sale and teaching, and as such are machine constructed. My own 15th century clothing is all hand sewn; the order of steps is much the same, with just a little more time involved.



This post will show you how to make some hosen using woolen cloth and a sewing machine. I would be delighted if you tried hand sewing, as I am convinced that it produces a better result but most people prefer to attempt new projects on the machine. I believe, now, that I need to adjust my pattern to remove the ankle seam. Though there is some (very vague) evidence that it could be acceptable, its absence in most illustrations makes me think that it must not be a common feature. First, some background.

 In Boccaccio's Decameron, you see women wearing footed hose, without shoes over the top, as well as hosen inside shoes. The left image shows a dark covering on the calf and foot, with a self-sole, not a shoe over the top. The middle image shows red socks worn alone and the final image shows red socks worn inside orangey red pattens or slippers. While it is not possible to see full length of these hosen, they are distinct from the images of women wearing shoes, and fit the foot and ankle closely, like men's self-soled hosen in the same document and many others of the time. None of the women's hose pictured shown seams though men's hose from the same document clearly show a seam running straight down the back of the leg.




  
 
Women are also depicted wearing hosen in the Limbourd brothers' February. The lady in blue, seated, seems to have some sort of lumpy ridge around her left ankle and some wrinkled on her right shin. Her shins are also a slightly different colour to her hands and face, implying it is not visible skin. The woman in the background on the left (sorry for flashing their genitalia at everyone) clearly wears reddy pinkish hose, rolled down to under the knee. Since the bulk of the roll under her knee is finer than that of the man pictured in the upper right detail, it is possible that she wears short hosen.



http://appalachianforums.com/archives/Dickenson_County,_Virginia_Archive.pl/md/read/id/249290
The 15th century artist Israhel van Meckenem created this image. The hosen the woman wears are loose at the knee, and collected by a garter. The pattern is clearly extended straight up from the widest point of the calf. We cannot see if the garter is tied or buckled, though no loose ends are visible. No seams are visible on the front or sides of the legs, or around the ankle region.



France, 15th century, Roman de la Rose, Bodleian Library MS Douce 195, 66v, p. 138
In Roman de la Rose we see a woman wearing black hosen with black shoes. Only the edge of the shoe leather shows up, and there is a similar light line seen under the knee where a garter would sit. Since we know shoes were made from leather and the artist has depicted these edges in the same manner, it is possible that the garter is also made from leather. The woman again wears the hosen rolled down to under the knee, and no seams are visible.

Heironymous Bosch, Adoration of the Child, Detail  http://www.wga.hu/index1.html
From looking at the wear patterns seen on images of beggars and workers who had worn out the bottom portion of their hose, it appeared that it was reasonably common for hose to be worn away to the ankle. The logical progression from there is that it would seem sensible to replace hose feet when they wore out, since the remaining leg was still functional. I know that is all conjecture rather than fact - it simply explains my thought process when starting to make hose a few years ago. The image above shows a man sitting in front of a fire with either no foot portion on his hose or a single stirrup strap under the foot - I have a large poster of this image and it is still hard to tell if the line under his foot is a strap or a stick. I feel that he is holding his calf and there is a strap under the foot. Either way, this image was another that compounded my desire to attempt making hose with a seam straight up the back of the leg and another around the ankle. I have been wearing this style for a few years now and can say it is very comfortable and wears evenly. The next batch will be based on another pattern, probably something like this or this.

More pages to look at
This page has some useful related information including an extant garter. This page has a great picture showing some over-the-knee length hose hanging in a workshop, as well as very good information on construction and research.

So, I type this up and have a bit of a search only to find this page. Bettina's website has some new pictures of hosen, including an extant pair from the fourteenth century.

Construction Process
After deciding that I wanted make hose with a separate sole and a seam straight up the back of the leg, I began to pattern. I do not pattern from numbers, rather I pattern directly. That means that to make a new pattern I take some fabric with minimal stretch or stretch comparable to the finished material and I pin it on until it fits. This part of the process means you need to have a good idea of where you want the seams to sit, before you start pinning. The ankle seam came about after finding it was the only way I could get a truly snug fit around the top of the arch and back in to the lowest point on the calf. Evidence does not point to its existence, though it does not comprehensively deny it either. Not great research - more of a work in progress.

1. Make a pattern 
This document is not going to show you how to make a pattern, just how the hose are constructed. I will record some instructions to give a rough idea, though. 

Draw around your foot onto firm, non-stretch fabric and cut around this shape, making it at least a 2 inches too large. Drape fabric over the arch and pin it as tight as possible to the sole piece. Mark a neat line around the ankle. Try to remove your foot and ease the pattern off 3-4 mm at a time until you can work your foot out - it should be difficult but not impossible. Remember that the ankle will firm up as you sew a seam at that point. Trim the ankle line, remembering to leave 1 cm seam allowance. Sew the sole and upper together and try it on. Make adjustments until you have a nice fit. If this takes 10 goes, who cares. Better to get a good fit. Put the hose foot on and repeat the process to get a pattern for the calf piece.

2. Choose your fabric
I have selected a medium weight wool that has been lightly fulled. This type of fabric was becoming more common in the 15th century. It should be prewashed to reduce the chance of felting, shrinking and dye runs. Choose something that feels all right on your ankles, as there will be a lot of contact. Choose something with at least some bias stretch, as this will give a better fit. To check the bias stretch, look at the threads in the fabric. The grain goes along the same line as the threads, while the bias is along the diagonal line, 45 degrees to the threads. Pull it on 45 degrees to check the stretch. If you are looking for other options, silk hose were known in the fourteenth century and linen lining was present inside garments throughout the fifteenth. Wool, however, has usually been woven to provide the most give and provides warm as well as cushioning, making it ideal.

3. Cut the pieces out
Lay your pattern pieces so they are on the bias. Don't forget to cut a seam allowance. It is useful to mark the seam allowance on each side of each pattern piece. 
  sole

 upper
             calf

4. Constructing the Foot
Lay the upper on the sole. Pay attention to marking the left and right soles and uppers as well as the correct side of the fabric. 
Position the seam up the back of the heel. It can help to make positioning marks on the pattern pieces. Spend some time easing the pieces around the curves and pinning in place.

 Sew around the foot, taking care to ease the fabric of the upper to match the curve on the foot.
 When you are happy with the lower seam, sew up the heel. If you are going to flat fell the seams (which is certainly more comfortable), now is the best time.
Before flat felling the sole seam, clip the curve. On this fabric, I clip three quarters of the way in to the stitching, 1 cm apart on the curves and 5 cm apart on the straight.
 The flat felled seams join up like so on the heel. Try not to sew over the top of other seams. Hand sewing leaves much less visible seams.








The finished foot.
5. Adding the calf piece
 Pin the calf piece on to the finished foot. Be careful to line up the back seem with the heel seam. The hosen can look very messy if this is out even by a few millimetres. It can be beneficial to take a needle and thread to put a few tacking threads through the foot and calf pieces at the + intersection, in both directions.








After attaching the calf piece, flat fell the lower edge of the seam.










Sew up an inch of the calf seam and then flat fell upper portion of the ankle seam.










6. Finishing the hosen
Hem the upper edge and try on your new hosen. Don't worry if it takes 10 seconds, 20 seconds, a minute to ease your foot into the hosen. Once your heel is past the narrow ankle point, your foot should pop into the hosen for a smooth, comfortable fit.




Tuesday, 20 August 2013

Merchant: Medieval Design

Just stumbled across this online shop. They seem to have a wonderful range of items for the 15th century. I especially like the lacing rings and clothing hooks in the Findings section. I have not bought anything from them yet, so can't speak to the quality by feel, but the images and referencing looks promising. The prices are reasonable, too. Mmm bear cup...

Book: Medieval Craftsmen - Painters

This is a fantastic little book that I was lucky enough to chance upon in a second hand book shop, yesterday.

Binski, Paul (1991). Medieval Craftsmen: Painters. British Museum Press, London

It set me back a whole $4 but it is worth much more because it has information on mixing paint, artist contracts, Ghent and Flanders, a helm crest, gesso, utensils, easels and gilding. Jackpot!

Some of the interesting tools shown are two brush rests, as used by painters. They are both pictured as grey. The same colour is used on several containers of different sizes around the studio tables, making me think that they are either representing a metal or pottery. I have seen small pigment pots of ceramic or stone in other images, though metal could make sense as well. In the case of the painting of Thamar, the brush tray is grey while the pigment pots are brown, like a earthen ware clay, and some smaller vessels are more white, like oyster shells. In another image, also from the Boccaccio manuscript, Marcia uses a stick to rest her brushes, to keep the heads from contact with the table. This method is shown in other images of painters studios during the middle ages.

The blue lines show how the brushes rest. The right hand side of each blue brush is resting in to a part of each tray that is tilted down. It doesn't seem that there is any liquid in these depressions, and some of the brushes appear loaded.

There are some spectacular easels, too, but that will have to be a post for another time.