onsdag 14 juli 2021

Device registered, finally!

So, my device is finally registered. It took me long enough... I have been a member of the SCA for 15 years but it is actually just the latest three that I have been thinking about registered both my name and device. My name, Marlein Eberlin, was registered a little over a year ago. 

In the society you are free to choose your own name. A proper name to your persona can make the game richer, the dream more visible and vivid. My clothing has more or less always been German. I have tried others countries and times too, but I always ends up in 16th century Germany. Its were I belong. So I took a German name. A name that was used during the late 15th century. I always imagen that my persona was born around 1490-95 so that felt suitable. And it turnes out that my last name, Eberlin, means wildboar, Eber. So of course I needed to use that in my device. 

And here it is!


Per fess gules and argent, three pairs of scissors Or and a boar´s head erased close sable.

The wildboar is there together with a white and red background. My great grandmother was born in a noble family and their colours where white and red, so I wanted to use that, to make it even more me. And of course, the scissors, its what I love to do, what I do every day, sew and make handicrafts. More clear than just a needle I thought. 

Im looking forward to start putting it on stuff. I need to make a baner! Im grateful to my household for the support and cheering that I have got. Thank you.

måndag 7 juni 2021

Some thought about male hairnets

I have been working on my sprang hairnets. For the first time I have tried to work with silk instead on linen. The extant finds of hairnets are in silk. So, that semse like the natural choise. I started working with the Lengbergfinds and they are in linen, so for me it was natural to keep on working in linen. But to change the material to silk was kind of the next step in the process. The female nets worked fine in silk. They are soft and follow the shape of the head and wulst beautifully. But then I tried to make the male hairnet in silk too. And Im not satisfied with the results. 

Here are my second male hairnet. Its made in linen with a wool binding in wool and a fingerloop braid in linen. 


You see the pointy shape that are so typical for German male hairnets seen in paintings from the 16th century. With the eye in the center. 


That it gets this shape on its own. No padding needed to make this shape.


And it appear both in the front and at the back. 

And here is my first attempt of a male hairnet in silk. In my opinion, the silk is too soft. It does not get the pointy shape Im after. It will probably look right on the top of the head of someone dressed in 16th century clothing, but...not what I had in mind while working on it.  


This net is in silk with a wool binding and a fingerloop braid in silk.

Here we see a hint of the ponity shape, but it is not as clear as in the linen one. 
 



Its alright. It is a fully functional hairnet made in the material the extant finds are made of. Just not exactly what I wanted...


So, is it wrong to keep working in a material that is not among the extant finds? No, I dont think so. It looks totally right with the linen sprang nets. And hairnets were seen on all kinds of people, from the rich to the soldiers and executioners. And all of them could probably not afford silk. So I will keep working in linen for the male nets. When it comes to the female versions I think I will keep working in both, depending on what I have at home. 

torsdag 6 maj 2021

My first 16th century ceramics

They are fired and photographed, my first 16th century ceramic replicas. The original is for food storage, in yellow clay and glaced only on the inside. I made mine in grey clay and therefore I glaced them on the outside too. And they are made for drinks, not food storage. 

The original has a brown glace, only on the inside. But as I worked in grey clay I thought I should glace them on the outside too. And obviously I put it on unevenly, so they became patchy. But they turned out quite nice anyway. I guess that happened during the renaissance too.

 Here is the original. Its found in Uppsala in Sweden and is 16th century. As you can see it has a small shelf for a lid. I decided not to make that, to be able to use it as a mug.


 
 
So the glace isnt really right. But I think I got the shape right. When I made them I had not yet seen the picture in colour, so I did not know about the colour of the clay. But next time I can improve with clay in the right colour!
 
This picture is taken right after I put the handle in place.
 

 Photos by Anders Ragnarsson. Thank you!

söndag 2 maj 2021

16th century silk garters in sprang

More sprang...I know, I cant help it! Its fun. 
This time, garters. I made pairs both of wool and of silk. And I will show you pictures. But first, some more information. According to Dagmar Dinkler, Die Rekonstruktion von eng anliegenden, antiken Bekleidungsstücken, sprang is actually a Swedish word, meaning "open work". I didnt know that, even dough Im Swedish. 

To the good news! There actually is a pair of extant garters from the 16th century. They are Italian, not German, close enough. They are dated between 1575-1600 and are made with silk. 145,9 cm long and 6,5 cm broad. 

And here they are!


Pretty, right?!
They are a bit over my level yet, but Im working on it. 

According to Maria Collin, Fataburen 48, there is information of sprang being spread all across Scandinavia during the late medieval ages. No garters in sprang from this time are found in Scandinavia. But I figure, it is a quite easy technique so if sprang as a technique is well know up here, they most have been making garters. In the same source there is information about a Karine Gyldenstjerne, born in Denmark 1542, at the age of seven made to live in a convent where she learn how to do sprang. It is also said that the word sprang is coming from norther Germany, so much for being a Swedish word! But a lot of German and Swedish words are very alike. 

And here is my try at a pair of silk garters! They are made of hand-dyed silk, tiny tiny threads. And they are so tightly woven, you wouldn't believe its actually sprang!
 
 
 
I have not worked in silk before so I played around with some holes and flower, just to try it out. The pattern are really hard to see, with such small threads and tight weave, but its there. The only socks I had, fancy enough for silk garters, are a bit to short for me, so the garters ended up underneath the knee. 
 
 
 
 
 
The texture of the silk made it possible to make the weave really tight, which was a fun experience. A big difference from the wool I have been working with, the wool thread stick to each other much more. 

Next pair need to be much longer, compared to the extant 16th century ones. They are only 7 dm long. And I have no tassels, needs to make those. Everybody needs tassels on their garters, right?!
 
I also made wool garters, much simpler, suitable for common people I imagine. I used a dark red wool that I already had at home. They are without pattern and with just one colour.
 
 
 
These types were used in Sweden up until the 19th century and had two or three colours and small tassels at the ends. Many of these kind are still existing in museums and being worn with the folk costumes. During the 19th century women often use garter much more simpler than the ones men used. In a book about 19th century clothing in Svärdsjö och Enviken in Sweden, Dräktbruk och Linnetradition, it is said that women used efsingar, warpthreads not being used in the end of a warp, as garters. It is also said in this book that the garters where made by "sprang, a technique used for making ribbons sense the middle ages". These ribbons are probably made on a board. The board have a nail in each end and the sprang is being worked between these nails.  
 
I did not have a sprang-board while doing the wool ones. I used my frame and a circular warp. The frame is to short to make them in just one regular warp. It was not that complicated with a circular warp once I got the hang of it.
 
They are 89 cm long and 1,7 cm broad. But with tassels!


All the rows are visible as lines in the fabric.

When making a warp this narrow and long the ribbon is starting to turn, its quite difficult when a warp full of sticks is turning...


Here you see the whole warp. Circular, stretched around the frame. 




When the weave is done the warp is cut into two ribbons and the end secured with knots. The ribbons are soaked and laid out to dry over night. 

I actually made my own sprang-board, after these where done... 

Here you see the silk ones on the frame. Im trying to show the pattern.

söndag 11 april 2021

The battle at Brunnbäcks färja

Gustav Vasa's War of Liberation, Gustav Vasa's uprising and the War of Liberation are some of the names of the war events that began in 1521 as an uprising against Christian II, King of Denmark and Norway who recently returned Sweden to the Kalmar Union. The war led to Sweden finally leaving the Kalmar Union and that Gustav Eriksson, later called Gustav Vasa, was elected King of Sweden in 1523. The battle at Brunnbäcks färja was one of the first larger battles. It happened in the beginning of april 1521. That is 500 years ago now. So yesterday my 16th century group made a visit to the location. We took a lot of pictures and had some swedish "fika" and later in the evening we had our ordinary guild´s meeting. The guild, Sankt Örjens Guild, is an association of people who try to recreate life in Dalecarlia during the first half of the 16th century, through clothing, food, drinks and weapons exercises.

As many of you know by now I mostly do 16th century German clothing. But yesterday I made a shot at Swedish 16th century, with clothes I already had. 

This is what I looked like yesterday.

Im wearing my two red dresses, the underklänning and överklänning in swedish, as usual. And a linen apron, a linen untergollar with a little ruffle and a thinn mantle in brown wool. And Im covering my hair with a linen cloth and a wool barrett.

 
There were also some Germans there...Most have come there together with the Danish army...those landsknechts...
 
 
And of course two Dalecarlian soldiers fighting for the man who was going to try to be king of Sweden. 
They obviously did a good job because they won this battle.
 

There were some commoners too. 
 

There is a memorial stone on the location, as you can see in the background here.   
 
And as brave Dalecarlian soldiers they fighted the invaders with all they had...
 
 
...or?


The guild at the memorial stone.
 

After our excursion we had food and drinks at the guilds meeting place, out in the woods close to Falun. 




onsdag 7 april 2021

The male hairnet

Today you dont see that many male reenactors with hairnets. They are mostly used by women. But while looking at 16th century inspiration in arts its quite clear that hairnet where very common also on men. 


They look a bit different from womens hairnets. A bit smaller, a bit pointed, with a very distinct shape. Me and a friend of mine had a disscussion about the shape, that it might have some kind of padding to create that special shape. Or did all of them have a lot of hair in some kind of weird hairdo? I didnt think so, but I wasnt sure, so I needed to try to make one. The woodcut above is made by Hans Buegkmair 1514. 


This is Jakob Fugger, painted by Albrecht Durer. Jakob semse to like hairnets, he is wearing them in a lot of paintings. 
This is him too...also by Durer. 


And again..


These types of nets has a very distinct shape. High at the front and at the back. And often a round shape in the front. Probably in the back too but its much more difficult to find a picture of this. 

Here you see the round shape very clearly.


It might be possible to make this shape with macramé too but I dont work in that technique, so I thought of sprang of course. If you make a squared net in sprang and pull the sides together, this type of round eye apears. So I wanted to try to make one, to see if would get the right shape on its own or if I needed to work with the net somehow. 

All of the men above might be wealty, at least Fugger was, very wealty. But the hairnets is also seen on men from other social classes. 
Like this guy, a crossbowman made by Holbein.

The same pointy shape with the eye in the front. The material might be linen in his net, and silk in Jakob Fuggers... The shape is the same but the cost of the material is the differens between the poor and the wealthy. But I have not yet seen a net on the head of a farmer. There are paintings of executioners with hairnets though. I have not tried making a silk net yet, but I have som at home, so, soon. 

And here is the result. I made a sprang hairnet in black linen. It has a wool binding all away around, in green wool. To make it stay on there is a fingerloop braid to knot it tight. 


It has no padding. The shape appears from the shape of the net, when pulling the sides together tightly, creating the round eye in the front. The string needs to lay on top of the binding, and not on the net, to not press it down and take away the shape. 

The warp was 40 cm long and made out of 56 loops. 


Here we can see that the front and the back has the same pointy shape. This net is a bit smaller than the female versions I have made before, where I want a wulst to fit underneath. This kind of male net seems to sit more on the top of the head than on the head. 


And with a hat!


I think it looks sooo 16th century Germany! Im really happy with it. Next time I might make the warp bigger but tighter, to see if the shape can be even more distinct. 
I think more men should wear hairnets!

onsdag 24 mars 2021

A one year anniversary

Today was the day, but one year ago. The day when I publiched the article on my embroidered haube. A year has past, and almost no one have seen it. To me it does not feel new anymore. But that might change when I have a chance to wear it in public for the first time. 


The haube was a project within a project so to speak. The society of the golden egg is a challenge household for the arts and sciences in the Kingdom of Drachenwald, within the Society for Creative Anachronism. The aim of the Society of the Golden Egg is to encourage artisans to increase their knowledge and skills through continuous challenges of at least intermediate difficulty, but which are a personal challenge to the person seeking to join the society. Challengers normally have up to one year to complete their challenge. 

My challenge was to recreate a german 16th century embroidered haube, from 1510-15.
The plan was to report on the project in mars 2020. But when corona came you all know what happened. But to be fair, I didnt do it to be approved to the society of the golden egg, that was just the framework. I did it to challenge myself. I did it because I love the painting its from, Portrait of a woman by Berhard Strigel. The golden egg gave me a chance to do all this, to challenge myself. To start dreaming of what project I could do. But of course, I wanted to show it of when it was done. Of course I did. Im proud of it. 

To read more about the project and the making of it, look here.


But there has been fun things happening during this period of plague. The haube have been in a magasin. That was an honour. A magasin about handicrafts, called Hemslöjd. 


And one day soon, we will all meet again and the haube will be used, a lot!
Happy one year anniversary! Maybe I should have worn it today...