Monday, September 23, 2019

Online Resources for the Independent Researcher v3

This class presumes that you know how to undertake basic research and evaluate sources, but do not have access to a college/university library or decent local library to do research. (and/or that like me, you prefer to do your research in your pajamas at midnight, in the comfort of your own home.)

The goal of the class is to present some resources on the Internet to aid you in your research rabbit holes .  I hope at least some of the sites are new for each of you. 
My personal focus is 16th and early 17th century Venetian and Ottoman textiles, clothing and material culture, but I think the majority of sites will be useful for a variety of rabbit holes.  

There are many more great resources out there on the Internet. These are just the most useful ones I’ve found in my web wanderings and personal research. I would love to hear about other sources you find.


Sunday, September 1, 2019

An Afternoon of Block Printing

I've block printed a couple of kaftans and Pietro's Master of the Blade scarf with acrylic craft paint and textile medium and had been collecting block printing stamps for a while so the Baronial A&S Activity I organized for August was blockprinting.  A dozen ladies arrived last Saturday afternoon to play with paint and fabric in my garage and be social. At least three of them knew far more about block printing than I did, so I learned a ton last weekend.

Countess Gwynhwfar brought so many lovely stamps!

Experimenting on scraps


 Playing with paint

Some folks were just experimenting but others brought projects that they worked on.

Countess Gwen experimenting with different types of paint

Mistress Kerysten decorating the neckline of a tunic

Sir Kytte decorating the hem of a tunic for Sir Artos

Things I learned:

  • Dawn dish soap works great to clean paint off the block
  • Exterior house paint works well for block printing
  • A dense pad (like a yoga mat) underneath gives a better result
  • You need Mineral Spirits to take oil pased inks off blocks

Things I want to try:

Mistress Margavati was using a "stamp pad" that she had seen block printers in India use -a large square plastic container with several layers of padding that she poured the ink (I believe she was experimenting with Dynaflow) onto and inked the block by pressing it onto the padding. 

Mistress Margavati taking a break from her stamp pad and talking to Mistress Portia

Mistress Portia had a fascinating way of producting a copy of a stamp using a legos for a frame and pouring a silicone mix (I think) into the frame.

Mistress Portia working magic!

Everyone enjoyed themselves and there was enough interest that this may become a recurring event every couple of months.

For  myself, I have bought a variety of paints, inks and other block printing tools and plan to do a lot of systematic experimenting to determine which paints work best on various stamps and types of cloth.  Watch this space!

Sunday, August 4, 2019

A 15th Century Dinner Party

So last weekend, I held a 15th century dinner. I became the Baronial A&S Minister this winter and I've been trying to do a weekend A&S activity every month to highlight a variety of arts & sciences.  This month it was cooking and eating a 15th century meal.

I have a bookcase of historical recipe and foodways books but I don't get the opportunity to play with historical recipes as much as I'd like. I pulled Early French Cookery and The Medieval Kitchen off the shelf to plan the menu. I've cooked from both books before so I was pretty confident about the recipes. I thought about reacting some recipes myself, but real life was busy and while I love research, I have to admit redacting isn't something I really enjoy.

There were 9 people including Pietro and I so there was just enough room around our dining room table -which was set with a miscellany of our feast gear. For once, the cabinet of Renaissance dishes and cutlery came in handy!

The table set and ready for guests    
photo credit: Jay Luo

Lafayette "helping" with the preparations    
photo credit: Jay Luo

The plan was that I would come up with a menu, do the shopping (the cost of ingredients would be split by the group) and we'd all gather at my house to share in the cooking and eating. The plan worked surprisingly well and much fun was had whilst cooking. Admittedly, the wine might have helped a bit :)


 Captains Brendan and Pietro and Lady Raven in the kitchen
photo credit: Maggi Johnson


Captain Brendan and Syr Artos cooking
photo credit Allison Halterman

Captain Brendan and Syr Kytte slicing parsnips under Syr Artos's supervision
photo credit: Maggi Johnson

After about 3 hours cooking, finally, it was time to sit down to eat!

 Sabine and Lady Marin 
photo credit: Jay Luo

Sabine, myself, Lady Marin and Lady Ruqayah
photo credit Trella Lyons

The Menu

Jacobin Sops
original source: Du Fait de Cuisine  Chiquart 1420
redaction: Early French Cookery p. 106

Jacobin Sops
photo credit: Allison Halterman

This was the recipe I was most excited about and it was the star of the evening! It is essentially a rich beef bone broth (the redaction said to use beef broth and add soup bones while it simmered) simmered with a boqui garni of parsley, thyme, marjoram and hyssop.  I'd never used hyssop (which is a bitter member of the mint family) in cooking before and had to use dried, but the local international farmer's market came through on fresh thyme and marjoram.

Under the broth was a thick chunk of a multigrain bread (I bought it in the Eastern European section of the farmer's market) toasted and topped with layers of white and dark meat chicken bits and small chunks of brie.

The broth was flavorful, the brie delightfully melted a bit in the broth and everyone commented how good it was.  How good was it?  Pietro and I ate left overs and I made another batch of broth to freeze so we can add it to our rotation of weeknight dinners.  The broth is the only part that requires ingredients that are not normally in our kitchen; we usually have a loaf of bakery bread and brie in the house.  And I am always looking for something to do with the left over rotesserie chicken from making his lunch salads.  One note if you try this at home -the bread needs to have some density to it.  We tried it with a lovely French boule, but it just became a soggy lump at the bottom of the bowl.


Chicken in Orange Sauce
original source: Libro de Arte Coquinaria Martino 1465
redaction: The Medieval Kitchen p. 115

Chicken in Orange Sauce
photo credit: Allison Halterman

This recipe is essentially roast chicken basted with a lemon, rose water and cinnamon sauce while cooked and served with the pan juices. I substituted chicken leg quarters for the whole roast chicken for economy and for making it easier to serve.

It was definitely edible but a little bland, I thought, and not especially memorable.

Easter Cabbage for a Meat Day
original source: Le Menangier de Paris, unknown  1393
redaction: Early French Cookery p. 265

Easter Cabbage for a Meat Day
photo credit: Allison Halterman

This called for cabbage to be boiled then baked with bread crumbs for thickening, sausage and beef stock. But there was no indication of what sort of sausage to use.  Calling on the knowledge of the SCA Cooks group on Facebook, I learned that the closest thing would be a dried sausage, and that there were dried Italian fennel sausages that were relatively historically accurate.  Farmer's market to the rescue I thought.  Except that the Italian fennel sausages were $14 for 7 oz  and I needed over a pound of sausage. Definitely not economical. So I substituted a pound of good bacon we buy at a butcher shop.

It was tasty and people seemed to like it, but I kept expecting to taste my standard cabbage and bacon recipe, which I prefer over this one.  Still,  this would be a good dish to make en masse for a feast.

Fried Parsnips
original source: Le Menangier de Paris, unknown  1393
redaction: Early French Cookery p. 267

Fried Parsnips
photo credit: Allison Halterman

The parsnips were sliced into thin rounds, dredged in a mixture of flour & poudre fine and then fried. I originally added this dish thinking it was an easy way to fill out the menu. However, peeling, slicing, dredging and frying parsnips in small batches was a lot more work than I anticipated.  Thankfully, there were nine people in the kitchen. Still, they were tasty -slightly sweet from the poudre fine balanced nicely by the sauteed onions that the recipe called for the parsnips to be served with.


Pears in Syrup
original source: Le Menangier de Paris, unknown  1393
redaction: Early French Cookery p. 291

Pears in Syrup
photo credit: Allison Halterman

Pears in a honey and wine syrup sprinkled with wine soaked fennel seeds.  I used bosc pears since they were the best bargain at the market and I realized when we started cooking that we probably should have made the fennel seeds in advance.  We couldn't get the wine to evaporate and there wasn't enough time to let the seeds dry as the recipe called for. The wine was a cheap red.  The recipe called for sweet red but since it was being mixed with honey anyway, I decided that it didn't need to be sweet. Another thing the recipe called for was cooking the pears in water or a red wine water mixture.  We went with all wine (perhaps because by the time we started the pears we were drinking our second bottle) and I can't imagine the recipe any other way.

The recipe called to quarter the pears.  We sliced them and they were still a bit awkward to eat.  And yet if the pears were cut any smaller, I don't think the presentation would be as lovely.  They were amazingly delicious still warm and the left overs were just as good chilled the next morning. This recipe is a keeper.  The only think I might do differently is use ground fennel rather than seeds.  The seeds looked pretty but were a bit gritty when you got a mouthful of one.


Honey-Nut Conserve
original source: Le Menangier de Paris, unknown  1393
redaction: Early French Cookery p. 290

Honey-Nut Conserve
photo credit: Allison Halterman

Walnuts spiced with fresh ginger and whole cloves in honey.  In retrospect, I should have known better than to try this recipe.  I'd previously tried to make nucato, which is much the same thing and the result was a very tasty, very sticky glob that you had to chisel chunks off of to eat.  The result of this recipe was much the same and it remained almost entirely untouched after dinner.  I'm rather baffled by the failure and wonder if it's the high humidity in Georgia that is causing the issue.  We ate the leftovers over th next week by prying pieces off with a fork. It was quite good although I might use ground cloves if I ever tried it again.  Getting a whole clove in your mouth, even one covered in honey, is a little too much clove flavor for me.

Over all, it was a lovely evening with good food, good company and there was talk about doing it again, so I think the dinner was a success!


_______________________________________
Redon, Odile, Francoise Saban and Silvano Serventi.  The Medieval Kitchen: Recipes from France  and Italy. University of Chicago Press, 1998

Scully, D. Eleanor and Terrence Scully, Early French Cookery. University of Michigan Press, 2002


Sunday, June 23, 2019

Teaching at Known World Costume and Fiber Arts Symposium

My Islamic Influence in Italian Textiles and Clothing 1400-1600 had it's debut at Known World Costume and Fiber Arts Symposium this weekend.  There were around 16 people in the class and I think it went pretty well.  There are several areas that I want to tweak before RUM, but over all it was a pretty solid class. Better still, women in two different kingdoms are now excited to make a Turkish robe for summer garb.  The Turkish Robe is pretty darned comfy as well as pretty, so I hope they do and send me pictures as they promised.

My class outline and deck of examples are posted here:        https://runningwithscissorsandfabric.blogspot.com/p/islamic-influence-on-italian-city.html  (or the Islamic/Italian Influence link at the main menu above) and I will be updating the outline and deck as my research progresses. 

Long term, I think that 1400-1600 will end up being a series of 3 classes:  Influence on Textiles, Influence on Women's Clothing and Influence on Men's Clothing.  Hopefully,  this series will be done by Gulf Wars.  Then I get to dig into the pre-1400 stuff which is very new territory for me, but I'm already kind of obsessed with Norman Sicily!

Tuesday, June 18, 2019

Adventures in extant textiles

So I have been on a research binge for the past few months,  hence the radio silence on the blog.  I did make it to the Moroni exhibit in NYC -which was every bit as enthralling as I expected it to be. There were no photos allowed, but I highly encourage picking up the exhibition catalog.  There were a number of us that travelled to see it and Mistress Leda and I were discussing the various lace and needlework details that you could see in the portraits.  After about the 4th portrait, a lovely little British lady asked politely:  "Pardon me.  Do you always go to exhibits and look at the needlework?"
Leda and I looked at each other and rather guiltily said:  "Um.  Yes."  We might have declined to mention that we'd flown in from Atlanta to do just that.

Jay and I also spent a long weekend in LA.  The Getty was beautiful (as always) but their layout is so frustrating.  LACMA was a real disappointment. While there was no discount on the admission, easily two thirds of what we wanted to see wasn't open (they're doing a big construction project)  I will try to post photos from our recent trips..at some point. *wry chuckle*

What is my research binge, you ask? I've been focused on a topic that I've been casually researching for a couple of years: Islamic influence on the textiles and clothing of Venice and the other Italian city states. 

I'm teaching a class on the topic at the Known World Costume and Fiber Arts Symposium this coming weekend.  There is a link at the top of the blog to the Islamic/Italian Influence page where I will be posting my class outline and presentation of extant examples after the Symposium and I will be updating those as my research continues.  I've really only uncovered the tip of the iceberg here -every source I find leads me to several more. This is a topic I could easily spend years on. My plan is to write up my "talk track" as a series of blog posts in the coming months and add future info in a similar manner.

Through a serendipiteous series of  "days like this I love the internet" events, I "met" Mistress Annetje from Northshield and she was kind enough to give me access to her personal collection of extant textile images.  The ability to scroll through hundreds of images from multiple museums was a huge boon in choosing examples for my presentation but also provided some interesting observations.

1.  There are some decidedly Islamic looking motifs in some of the 12th century German textiles.  I must explore this rabbit hole further at a later date.

2. Multiple museums have pieces of the exact same fabric... and none of them entirely agree on it's origin!

Woven silk
14th century probably Iran
(but in the summary it says probably Italy 
so the V&A doesn't even agree with itself)

14th century Spanish or Italian

14th century, Italy

Both the V&A and Cooper Hewitt say it's silk lampas with a gold/gilded parchment wound round a linen core.  The Met only comments: "Medium: silk, metal thread"  Reading the provenance for each piece, they were all acquired at different times (1894, 1902 and 1946) from different sources but the pattern and colors in each are all so very similar as to almost appear identical.  All three museums says the pieces are probably Italian...  but the V&A and Cooper Hewitt also entertain the possibility of it being Iranian (14th century would be late Il Khanid period or very early Timurid) or even Spanish.

You can definitely see the similarity  to a 13th century Syrian textile at the Met, so I can understand thinking it could be from Iran.

13th century, Syria
Silk; warp faced plain weave

But Spanish? I'm not so convinced.  While there is this piece at the Met that has some similarities

14th or 15th century, Spanish or Near Eastern
satin and plain weave, silk and metal threads

The majority of the extant pieces from Spain that I've seen are far more geomeric.

14th century, Spain, Granada, Hispano-Islamic
Lampas weave, silk

14th century, Spanish
Lampas: silk and gold thread

My knowledge of medieval Spanish textiles is almost entirely visual, but the original three pieces just don't feel Spanish to me.  Not that any of the museums are asking my opinion, but I'd have to agree with the V&A and say: "Probably Italian. definitely inspired by an Islamic pattern"

Wish me luck on the maiden voyage of the class!

Friday, January 25, 2019

On Days Like This, I Love the Internet!!

One of my New Year's promises to myself was that I would write shorter, more frequent posts rather than long posts at the completion of a project.

As we are already 25 days into 2019 and this is my first post, I not sure how successful this plan is going to be, but this is the saga of one of my recent rabbit holes.

Back on December 7, I discovered the existance of a book called Tablet Weaving from Anatolia and the Ottoman Court.  This excited me because:

1.  Other than a paragraph or two in the IPEK essays and the clear evidence on several extant kaftans, I have found no other information on tablet woven çhaprasts.

2. I have some beautiful silk brocade that it just crying out for fancy çhaprasts when I construct it

3. Jay was messing about trying to figure out how to make a tablet woven çintamanti pattern, but not having a lot of success

Obstacle #1.  The book was not available anywhere except from the university in Istanbul that published it. But the University had a FB page and after several queries they posted an email address to contact about purchasing.

Obstacle #2  When I finally got an answer back from the University they wanted a wire transfer.  Paypal does not send money to Turkey, Western Union will only wire for a cash pickup not into an account and my bank closed all the branches close to me ages ago.  FB hive mind to the rescue and I learned about an international personal wire transfer service called TransferWise from someone that has used it repeatedly.

Obstacle #3 The wire transfer info didn't map correctly to the info needed to successfully complete a wire transfer and I  got no response back when I asked for additional transfer info.

At this point, I was frustrated as ---- but damned if I was going to give up.  So I google stalked the author.  I didn't find any direct contact for her, but I did find the web page for a project she'd been involved in with a "contact us" email.    I sent my "seeking assistance in obtaining copies of Dr Altihan's book in the US, please" email off into the interwebs and kept pondering options.  At some point in all this, a West Kingdom Facebook friend who was also trying to get her hands on a copy and I agreed that whichever of us could successfully connect with someone to buy the book would buy two copies and we'd split the cost.

Then the most extraordinary series of events occurred.  The head of the project I had emailed, emailed back saying she was no longer living in Turkey, but would contact the author.  I was delighted to get any sort of response.  But 2 days later, I had an email in my inbox from a woman in L.A. introducing herself as a long time friend of Dr. Altihan's who had been in Istanbul this past summer and brought 3 copies of the book back with the hope of finding a U.S. distributor.  Dr. Altihan had contacted her and asked her to sell me those copies.

We began a pleasant back and forth email correspondence.  She is focused primarially on rugs and was kind of fascinated to know that there are people out there that are independently studying Ottoman culture and recreating it.  She also gave me an extended list of off the beaten path places to go to in Istanbul, and who to ask for and tell them I was a friend of hers.  She also offered to bring a few more copies back on her next trip to Istanbul this summer if there were other folks I knew that would be interested.

The interest on the SCA Ottoman board in the possibility of additional copies becoming available was immediate and excited and I told her that there was definite interest.

And today, the books arrived!   It includes finger braiding, not just tablet weaving. And pictures! So many closeups! Including details I had never seen before on extant items that I thought I was familiar with.  And patterns for most of the examples she uses.   It's so much more of a hands-on, how to than I expected.



And the icing on the cake was that when I turned to the title page, all three copies were signed by Dr. Altihan!



So I  am kind of over the moon right now, and off to spend some quality time with my new book!