Back in the day, which is always a Wednesday, before we began our Knowne World Tour, it was arranged for Jeff to get his Silver Crescent at the same event as his Maunche because he was leaving Portsmouth for San Diego. Because of this, scroll requests got backed up. I wrote the words for his Crescent that was read in court, but he had no scroll. I promised him I would write an icon for him. THEN-
He left for Caid.
I got assigned Konstantia’s Herald Extraordinary scroll.
I wrote my thesis.
I moved to Caid.
I got the gilding down on this.
His backlog scroll came in from the East, and it’s lovely and I gave up.
He came back.
I did things other than paint.
We moved to Trimaris.
I was like, “Oh I still have this.”
And he was like, “So where is it?”
Here it is. 3 years later.
Panel is one of my handmade ones on a birch art panel with my own gesso. It is a hot mess and was not easy to paint on. I noticed the places where I didn’t sand as well, or touched a lot during demos and displays were prone to pitting and bad adhesion of the tempera. On the bright side, a lot of the flaws I had were the same flaws I saw on very old post-period/in-period panels. So there’s that, I guess. If anyone can take my experimental art and actually like it, it would be Gieffrei, anyway.
Saint: Nicholas of Myra, known to most of us as Santa Claus, but also the patron saint of sailors, and, of course, heretic puncher supreme. The reason I chose him should be evident. (Hint: Nothing to do with punching heretics.) The pattern is modern. Most period icons of St. Nicholas are rather boring and rarely show him with a boat/in a boat. Those are all post-period.
Green sky/blue water = Jeff’s arms, sans martlets, though in retrospect, I could have drawn one in. Green is also his favorite color.
Silver Crescent is on the boat, not only because service to his kingdom, but also to his country.
Inscription around the border: Γοδεφρείδος, Αργυρά Ημισέληνος της Ανατολής. “Gieffrei (Godefredus in Latin and Greek), Silver Crescent of the East.”
Main inscription just says Saint Nikolas.
After it cures for a couple of weeks, I will oil it, let it sit for a month, and then it can join the gallery on the staircase as an actual scroll.
Being that it will be no less than the temperature of the surface of the sun, plus 3000% humidity this weekend at Trimaris Coronation, I decided that less was more, and I would go in that killer yellow chiton from my previous post.
But then I decided to add more.
As mentioned, the Chios Kore is probably my favorite all-time Archaic statue. And the polychromatic replicas just make my gaudy heart sing. Plus that perfect example of the archaic smile. What does she know?
Here are the photos again, for a refresher:
508907 Kore 675, 510-520 BC, attributed to Archermos from Chios, marble sculpture of archaic age from Chios, Acropolis in Athens Greek Civilization, 6th Century BC; (add.info.: Kore 675, 510-520 BC, attributed to Archermos from Chios, marble sculpture of the archaic age from Chios, the Acropolis in Athens (Greece). Greek Civilization, 6th Century BC. Artwork-location: Athens, Moussío (Acropolis Museum, Archaeological Museum)); De Agostini Picture Library / G. Nimatallah; it is possible that some works by this artist may be protected by third party rights in some territories.
Take a look at her himation, the over-garment that would evolve into the Roman palla and toga. You see this style on multiple statues, such as the ones in the header on this great page that discusses polychromy and its recreation a bit more in detail:
It’s not really a “himation” at all, but more of a peplos that is pinned as a chiton on one shoulder only. I figured this was easy enough to do, and would help complete my look for this weekend. This project was done entirely by machine in less than 2 hours. I think the longest part was just getting the trim down.
I went with the same orientation of the linen as the chiton: using the long weft length instead of the warp. I figured this would give me a comparable drape, and continue on this archaic project being a fabric-conserving venture. In hindsight, it probably could have been longer, but at least it won’t be dragging on the ground.
I started with a length of 2 yards and 10 inches (82″ total) of lightweight blue linen, and finished the two raw edges first. I maintained the finished selvedges as the hems.
After that, I went and started making my peplos, using a 16″ peplum, and ironing the snot out of it to get a nice sharp crease.
I applied a nice contrasting band of meander trim along this crease. In period, it would probably have not tacked the fold down, but rather have been a horizontal stripe along the fabric, and the fold actually being free to open back up. This would have allowed the garment to be worn multiple ways. For the sake of this test project and ease of wearing at an SCA event, I just stitched it down. The next one I try will be more accurate, so I can re-work it into a chiton or peplos or himation as I choose.
I then put bands of trim on the base of the peplum, and at the hem. Mixing them up a bit like on the original artwork. I did not have enough of either to do the vertical stripe down the front, or anything that looked “Grecian” enough to really match this go around. I’ll have to do some hardcore trim shopping and see what’s out there for my next attempt.
Here’s some pictures of my trim layout, complete with cat assist. I pulled up the top trim in the last photo to show my cheater stitches along the fold.
Next was draping. I threw it on the dressform, and formed the peplos. It is short, but look at how nice it fits the body, like the Peplos Kore variants, versus the more draped later styles. Once again, this is a 16″ peplum, and it fits nicely from my shoulder to natural waistline.
While on the dressform, I just started measuring like I would for a typical classical dress: found the center points, measured out my neckline, and then formed my sleeves from there. The Chios Kore shows 7 disc pins, I used 6 round buttons. I’ll probably use one of my smaller fibulae to keep it attached to my chiton, and stop it from slipping down my arm. It really does miss that vertical stripe, so I may have to go back and add one once I find a suitable trim for it.
And just like that, it was done!
Here are belting variations:
And the side views. The open side makes for a more accurate garment, but if one were to make this into a functional full peplos or chiton, it would have to be wide enough to wrap around the body, or a nice breeze may reveal quite a bit.
I’m exceptionally pleased at the color palette, since the primaries were all over the archaic statues. While they were common tempera shades, I do admit I’m not 100% sure on if those colors could be achieved by dyes so early. I’ll have to touch base with my dyer friends to see what they think.
Now, if only I could put my hair in multiple braids to complete this look!
I live in Trimaris. It is summer. This post is a little punchy.
I swear, when I lived here 15 years ago, it wasn’t as hot. Granted, I was younger, I had grown up here, and I endured the summers because we were thrown out of the house over school break lest my parents go insane. Jumping Jeebus, it’s hot out right now. I know the Jacksonville area, where I am, can get hotter than the Tampa Bay area, where I grew up, because of the way the breeze crosses the state, BUT STILL!
Don’t get me wrong, Caid was hot. But most events weren’t awful. You could catch a breeze in the shade, and, of course, Southern California is a dry heat. Not that a good Santa Ana Wind didn’t turn you into a raisin, or anything, but your sweat served its purpose and evaporated. There is no such thing as a dry anything ever in Florida. Be it a heat, or a cold. Swamp-ass is the state’s actual unofficial pastime, not to be confused with bad news stories being released on the internet because of the state’s freedom of information act. Moist. Moist is the vocabulary word of this Uncle, Lord Samuel’s Naval Tour Post, and there is no way in heaven or hell that any of my Sartor silks or full on Byzantine anything ever is going outdoors into that schweaty abyss.
So, I have Roman. Roman is good. I only have a full bulbous Roman linen outfits after a recent garb purge, and decided I wanted to be pretty, and converted a lot to the cotton sari trend, which was great in non-schweaty Caid. I wore an ultralight set, composed of two thin cotton saris, one day at Pennsic 2 weeks ago (we had an exceptionally…swamp-assy war) and it stuck to every…crevice…on…my…body…that…could…pool…moisture. YUCK!!! Oh cotton, no! The elegance of the drape was lost when it just adhered itself to my bits. That got pulled off of my body in a hurry and replaced with one of my linen “war tubes” as I call them. Literally, just a one seam tube that I made at war one year that I can pin once on each shoulder for a Bronze Age look. These are often called bog dresses.
Somehow, my brain knew it was going to be a hot war, and decided weeks in advance that I was going to sew up slimmer-fitting chitons in more of an Archaic Greek look, versus the draped fullness you see in later artwork. I kept the embellishment simple, and even sewed most of the tops closed for ease of wear. I don’t think I really want to wear my full Roman dresses ever again.
“Archaic Greek?” You may ask, unsure of what I mean.
So, true story, most of my formal education is in Ancient Greek and Roman History and the Classics, versus Medieval History. We didn’t have any real Byzantine History classes, so I had to sort of do my own independent work in that regard in connection to other courses. Understanding Greek and Roman history is vital to Byzantium anyway, and the Middle Ages for that matter, but yeah, there’s my big secret, I’m not much of a Medievalist at all, I’m a Classicist. You may now ring the shame bell.
So, back to Greece. There are multiple periods of Ancient History, just as we have multiple periods anywhere else. For Greece, it was the Bronze Age, Dark Age/Geometric, Archaic, Classical, and Hellenistic periods.
The Archaic Age (pretty much the 7th-6th-5th centuries BC) is basically when a lot of what we know of as “Ancient Greece” begins to take shape. This is when Homer composed the Iliad and the Odyssey, when Sappho lived, and when sculpture started to make an appearance.
And now, a crash course in art history!
The pivotal sculpture forms of the Archaic Age are the Kouros and Kore statues, or “young man” and “young woman” respectively. There is some speculation on who they represent, but the general idea seems to be Apollo or Dionysus for the Kouros, and Persephone for the Kore. Or, nobody in particular after all. Kouros is almost always stark nekkid, while Kore has been draped with a variety of garments. The style was pretty much lifted directly from Egypt, and predated the more common contraposto-style statues you see from the late Classical period.
Thanks to the miracles of modern science, we’ve been able to really get an idea of what colors the statues were painted, and boy oh boy, are they a treat to the eyes.
When I was still out in California, The Norman and I went to San Francisco for a weekend, and I was able to catch the “Gods in Color” exhibition at the Legion of Honor. The exhibition, which started in Germany, I think, is a collection of reproduction Greek and Roman statues that have been painted to match their original, or experimental, colors. I may have cried a little (out of joy, mind you, again, this is my area of study), and took pictures of every single object in the show, while poor Jeff followed me around with raised eyebrows and bewilderment at why the Persians were wearing what appeared to be Lularoe leggings. (All photos from the exhibition are my own.)
Or why this Kouros had some circa 1999 nipple tats going on. It’s like he listened to Godsmack in high school and made a bad life choice. (I swear, I am actually an adult, and not 12. It’s probably an interpretation of Apollo. Really. Now you know archaic nipple tats are a thing. In actuality, it has to do with the concept of ephebeia, or the adolescent male, in Greek society, but I’m keeping that off of my blog for my own sanity. Anybody interested in it as a scholarly discussion is welcome to contact me by email.)
But what I was really there for were the interpretations of Peplos Kore, and the colored version of Chios Kore. Happy nerd girl tears, again. I threw in images of the Phrasikleia Kore in here for added dweebery and inspiration.
The colors! The trim! Sure, most of it is allegorical to the goddess or person they are portraying and not actually indicative of patterns worn by actual people, but, the options for fun for hot weather garb! I would avoid wearing all of the lotuses that Phrasikleia Kore has on her, only because it’s a funeral stele and they’re symbolic of the afterlife, but the fit of her chiton got me thinking that there is no need to be swimming in fabric. Contrast her to the draped layers on the Chios Kore, means that there were possibly options, and not just limited to the skill of the sculptor, noted by the folds at the bottom of Phrasikleia Kore’s chiton.
Inspired by this fit, and bored with a stack of fabric at my parents’ house when house-sitting back in June. I decided to make a slimmer fitting chiton by taking 2 yards of 58″ wide linen, folded the short way. I determined that I could do this with less than 2 yards for my figure at this width. I know that not all women are created equal, so I apologize if this particular hack doesn’t work for you, but the style is still doable. For me, I found that I could go about 32″ per front and back panel and still have plenty of ease with my 42″ bust and even wider hips. This is a heck of a lot cheaper and less cumbersome than one of my 4-yard Roman style chitoi/tunicae interior.
I threw some trim on the top and bottom, and added a slit to one side seam for walking ease, and thus, my “archaic” chiton was born. Half the fabric as a Roman one, and still a flattering fit.
I sewed the top of the first one, instead of adding buttons or pins, and this allowed me to wear a real bra at Pennsic, instead of a tube bra, which relieved some of the uncomfortable under-the-boob sweat that women are subjected to. I lived in this thing at war.
So I made more! The black was inspired by some Romano-Egypt fayum portraits with the addition of the clavii (note that Romano-Egyptian garments were MUCH wider), and the yellow was straight out of the yellow Peplos Kore above. The trim is vintage sari trim I got from Ebay. Perfect! (The black has alligators. Because!)
The yellow I had some fit issues with. The trim made it stiff, and it wasn’t as flattering, even with my parents’ cat Mary Jane lending her assistance. So when I got back to my house, I added heavy brass buttons to the sleeves, and BOOM! A completed look and a smoother fit. I wore this one with a red himation/palla to the Courtesan Bacchanal at Pennsic.
For the finale, I ended up making one out of wool I had just laying around. Check out this draping! It looks SO PERIOD in contrast to linen! (I don’t have a full length mirror in my current apartment. So you get the Soviet selection of my propaganda collection instead and some curing silk banners.) I did try wearing it at Pennsic. Once. While it breathed well, and totally wicked the moisture off of my skin, the sun hitting it was too much for my modern sensibilities, so I went back to the linen. I do need to wear linen against my skin UNDER the wool next time (this is a nice basketweave that doesn’t itch or scratch) for a more accurate interpretation and perhaps less of a chance of being baked alive.
So, before you all run off to try this, I want to make a disclaimer, while I called this my Archaic Chiton, I’m only doing so because of the slimmer fit. In Greece, they sewed no seams. Everything was wrapped, pinned, and belted. I do not, and never will, have the huevos to pull that off.
Here is a drawing of my measurements, and basically how I did it, for those that want to try the slimmer look, as well.
For my next trick, I may actually attempt a full archaic look with those crazy colors and embellishment. Let’s see if I actually get around to it.
Apparently, WordPress decided to go full iconoclasm, and I’ve lost a lot of images in posts. I don’t know how many, but I’m trying to repair posts as I see them. Please, be patient while I work on this. It’s going to take some time.
Yay, after building this as a draft for weeks, it’s finally done!
If I would have made this out of leather, it would have been done months ago. This became an issue of scope creep, that is, the project just kept growing more and more out of my hands.
At first, Jeff was going to make it, then he decided I needed to learn. So what culminated was a joint effort of, “Hey y’all, watch this.”
I am a total metalworking rookie, and I think that it shows, but hey, I did the thing! The base metals are nickel silver and brass. It’s not really based on any one particular coronet, you see hinged crowns across the continent.
Timeline: February to July. I could have had it done sooner if we focused on finishing it. But once we missed the deadline of East Kingdom Coronation, our goal became Pennsic.
We started with a mockup made out of cardboard. Pieces of cardboard were cut into plausible plaque shapes, and taped together. We used this to make a stencil.
I was busy with conference prep, so things got pushed back, but I got to cut METAL. \m/ I couldn’t do everything, and it was very hard to shape the plaques on the bandsaw after I traced the shape, so Jeff had to nip them by hand. It took 2 days. I felt horrible.
My cabochons had also come in. I went with a swampy Ruby-in-Zoisite.
Time to figure out copper shapes for enameling, and the sizing. Jeff punched them, I dished them. It was a loud night in the garage.
We tried to gun through this, but ran into some hiccups. I did all the enameling and soldering on the ornaments. Yep, hurricanes. And one tropical storm for luck. One of my non-SCA hobbies is storm tracking, much to the chagrin of my Facebook friends once the season gets cooking. That and, growing up in Florida, living most of my life on the Eastern Seaboard, yeah, they sort of become a way of life.
Jeff did the brass work on the edges and hinges, I helped only a bit with the solder but didn’t feel confident enough with the higher temp stuff.
At this point, we were pretty much out of time, but Jeff attached the bezels for the cabochons. I didn’t get pictures of it. Attempts at polishing with the wheel and dremel failed. We needed to use pickle. This was going to have to wait.
I found the damn pickle solution, and had fun with it. It took off all of the fire scale, and then I went in with some baking soda solution to get extra crud off.
I had to spend some time out of town for most of June, so aside from sewing, not a ton toward Pennsic got done. Time to revisit the coronet and finish this.
Jeff finally got a good polish on the wheel, and inserted the cabochons into the bezels.
Lacquer was painted on it to protect the metal, and let dry.
The ornaments were re-attached, and the rivets were cut. While Jeff did that, I cut the pearl for the tropical storm ornament in the front of the coronet.
Pearl in the storm, and that is not an obscure sports term:
Because of the weight of the metal, we needed to get a suspension in there for a lining. My husband concocted a system using cardboard to frame padding made from a tube of flannel and craft felt. It was then riveted to three of the alligators, and treated with Loctite.
And then I got to play fashion show to make sure it fit. Some of my veils are thicker, but overall it fits well. The padding should squish down a bit, if not, gravity is definitely going to do its job. I haven’t weighed it. I don’t think I want to.
And voila! We did it! A week and half from leaving for Pennsic! It’ll be on display in the Known World A&S Display on Middle Sunday. If not, I think I should stick out in a crowd.
Is it perfect? No. It’s only the third metal coronet Jeff has ever done, and the first like this where stones were set and it was full of ridiculous detail, but it’s mine, and the imperfections make it better for it.
I do wear Norman garb, too, even if I don’t like to admit it. It’s one of those “well, I’m married to one, so I need to look the part sometimes” gigs, much like how he also owns Byzantine garb, to humor me. This post is to help start build content for my Norman Garb Basics page I hope to finish after Pennsic.
My first bliaut I talked about here on this blog, in the chronicles of the Norman longdress. Here and Here.
That one was not without issues. It didn’t fit the best, I back engineered the lacing, and the elongated torso does no favors in linen. I have since parted with this dress to someone who could wear it better.
My second bliaut was easy. It’s an earlier design: no side lacing, and a looser, skimming fit versus a tight, completely form-fitting one. A simple keyhole neckline, made of basketwoven wool. It has a nice drape and I like the fit. It’s more accurate to my husband’s timeline of the late 11th Century if I use similar cuts seen in the Bayeux Tapestry as an example. I am unsure if the lining was ever really contrasting, but I like the way the blue just punches out of this one. I guess this could be considered more of a proto-bliaut.
Figuring the experience of these two dresses combined, I could make a late-12th Century version, with the lacing, and the slit neck, and the pendant-style maunche sleeves, and rock it for the William Marshal Tourney at Pennsic as Jeff’s consort.
I will say all of my mistakes could have been avoided by ACTUALLY MAKING A MOCKUP AND PROPERLY PATTERNING THE DAMN THING instead of what became another back-engineering project. The hilarious thing is by this point, I can help people figure this pattern out just fine with good results. I guess it’s a good thing that this particular style is too late for Gieffrei and myself, and I just made it with Pennsic in mind, so I didn’t spend the amount of time I normally would lining sleeves.
It started off easy enough. I make my bliaut pattern with a front and back seam, so I sew together 4 pieces for the body. This allows me to put in back and front gores with minimal fuss, and also helps get a clean neckline. I figured this would work great for the slit neck versus cutting the fabric, and draped it as such.
I applied the trim to the neckline at this point. The V comes down to mid bust. The back opens just below my first vertibrae. I found a vintage sari trim that looks wonderfully Siculo-Norman.
From here on, it went together pretty smooth, except that I cut the gores a bit too long. That was an easy fix, albeit a frustrating one. I was just careful to line up the front and back seams at the trim when I inserted the gores. Easy enough with a liberal dose of pins.
Much like constructing a regular t-tunic dress, it went together, and sat on my dress form like a lifeless sack with pretty trim.
The hard part was the fitting. I don’t know many people yet in my area, so having a friend to come over and actually fit this sucker was out of the question, so my husband helped. I put a gusset in the underarm out of habit, thinking that the sleeve would be okay, it was not. So he pinned and marked what would need to be taken in.
Oops. Either he got too excited, or I did. Crap. The sleeves were too tight! I tried it on with an underdress, and split the seam, so I knew this was going to be a tough fix. I could either insert a new gusset that would close the seam, or just lace it up to where it needed to be. To make matters worse, one sleeve was tighter than the other. I got way too scissors happy. @#$%!
When I spoke at the conference at Fordham in March, there was a session given by Gale Owen Crocker about extent garments and fit. We have a very symmetrical view on clothing in the modern period as a result of mass produced garments. The Middle Ages had no such sense. Clothing was tailored to the person, mistakes were worked around. Fabric was precious and so was sewing time. We’re spoiled with mechanization, and forget the “make it fit” view of the period we’re supposed to be representing. Well, considering I had no extra fabric to make new sleeves, I had to make this work.
The custom gussets were not working out well. I went from triangles to footballs to leaves to giving up. Laces it was going to be.
I measured out 16 eyelets on each panel, for a nice total of 64. I started marking them out, and my husband went, “Uh, you’re going to machine those, right?”
He had a valid point. While machine eyelets are not the best for fabric, handmade ones would take me far too long and far more stress I didn’t need. Machine it would be. Fortunately, my machine does a reasonable job.
Despite it being by machine, these are not that fast, and not without error. I actually ran out of bobbin thread in the middle of a row, in the middle of an eyelet, which was the only way Jeff got me downstairs for dinner. NY Strips on the grill, and I still wasn’t going to leave the machine.
After about 12 hours of work spread out over 4 days (I was getting punchy), I finished it. I was hoping I could use one of my existing underdresses, but I don’t have a white one that is slim enough so…more sewing for me! @_________@ I do need to weave a wider belt and will probably do that on-site at Pennsic, since I’m pretty fast with inkle, and can get nice materials from the merchants. The one I used here is handwoven trim I made last year. I’m thinking it may look nice as the trim on the underdress.
Make a freaking mockup, you lazy bint!
Linen is still not as good for a bliaut as wool, but Pennsic is death.
Triple check your husband’s work, and you know, make a mockup.
Not a fan of the slit neck as much as the keyhole. because of the way it effects the fit on top.
Really not a fan of the lacing, and I don’t think my next one (parti-heraldic for Crown tourney) is going to have them.
After Pennsic, I’ll be posting my pattern for my bliaut block in the Norman Garb page.
This year, the William Marshal Tournament at Pennsic War will be held on Monday of War Week, at the fort, from 5-7pm. This is correct on the Pennsic website, but NOT in the printed book. Please be advised of this error should you wish to compete or watch.
The tournament has a late 12th Century Anglo-Norman theme, think the reign of the three Angevin Kings: Henry II, Richard I the Lionheart, and John, with guidelines of participation having an accurate armor kit to this date. There are a few different scenarios that will be fought, including a ransom bout. All battles are melee, as was period for the 12th Century, versus one-on-one like a later period deed of arms.
The Norman husband will be fighting for my honor, and I have been working to make us garb and accouterments to fit in within the period, as our personae are roughly a century earlier. This is 90% because Eleanor of Aquitaine is a hero of mine. ❤
Please come out and support us, as well as the other combatants, at the CORRECT time and place listed above!