Shift-y

Oh, I went back and removed the collar and ruffle, and gathered the shift neckline more, reattached and shortened the collar, and now the ruffle stands out much more on it's own.

That is a Good Thing, and it makes me happy, although I'm not smiling in this picture. :)

*The above picture also shows my paire of bodys from the side, so there is a clearer view of the boned tabs, and the silhouette it creates.

Petticoat Junction

After much thought and many google image searches, I have decided not to wear a farthingale with my current Flanders Gown project. The Elizabethans are not Victorians- shoes and ankles are often seen in paintings and drawings, indicating that skirts were not worn long enough to "drag in the mud". The farthingale is cumbersome, and gets in the way of my day to day chores. And if I sit for a portrait, I may break out the best and fanciest clothing I had- but those hoops could be a danger if I'm working near a fire.

(I do have plans, and fabulous material, for a more "noble" Flanders gown ensemble, which will include a farthingale. But that's a project for another time.)

I found a gorgeous 2 over 1 red wool twill, perfect for an Elizabethan petticoat. Red petticoats are frequently mentioned in late 16th century English wills, (as well as Gone with the Wind. I used two full fabric width rectangles, joined with a running stitch done with waxed linen thread, and knife pleated them in a waistband. (See pic). I added linen tape ties at the waist, and roll hemmed the bottom, securing with a silk thread whipstitch.

Embroidery Interlude- The "Jupiter" Panel

The original is the top image, currently housed in the Victoria and Albert's Museum. My recreation is the bottom image, and my documentation is "cut and pasted" below.

Objective: To recreate as closely as possible the “Jupiter” panel originally done by Mary Stuart, Queen of Scotland.

Background: The “Jupiter” panel is part of the Oxbugh hangings, created by Mary, Queen of Scots and Elizabeth Talbot, Countess of Shrewsbury in England, ca. 1570-1585. This panel is thought to represent a real animal in the household of the countess. The original is worked in silk thread and and silver-gilt thread, over linen.

Materials Used:
32-count evenweave linen canvas
Splendor 12-ply silk thread. (I used 4-ply sections.)
Colors used: Black (S801), White (S802), Light Grey (S892), Salmon (S1080), Bright Blue (S862), Gold (S909), Green (S848), Brown (S851) and Cornflower Blue (S861).

Stitches Used: Tent and Cross Stitch, both worked over 2 threads.

Why this?
I was drawn to recreate this panel because of its subject matter. This was a real dog, that belonged in the household, and which the Queen saw on a regular basis, and was inspired to embroider. This helped me reach across the 5 centuries separating us- I was able to sympathize with a woman in an unfortunate situation, identifying with her over her fondness for a pet. I also enjoyed the workmanship in the piece- it is not an aesthetically perfect work of art- the dogs proportions are off, and the subject is not centered. This also helped me relate to the artist.

Method:
I began my attempt at recreation by ordering a high-resolution photograph of the original from the Victoria and Albert’s Museum website. Using this hig-resolution photograph, I was able to chart a reasonable facsimile of the original. Using this chart, I embroidered my copy.

Learning Opportunities:
I had difficulty creating the chart in the area around the dog’s head: the original black threads had dissolved over time, making it “guesswork” to determine their exact orginal placement. Also, I began the work using a tent stitch, as indicated on the Museum website- however, subsequent conversation with Mistress Cellach of Athena’s Thimble revealed that the work also contained cross stitch, and upon returning to the original photograph, I was able to see evidence of cross-stitch. I did contine to use tent stitch, as I felt it conveyed the feel of the original, but I did incorporate cross-stitches, particularly in the letters of the banner.
I also changed the monogram from “MR” to “AR” since I was copying the original, not creating it anew.

What I Would Do Differently:
Not take things at face value. Had I examined the high-res picture with an eye to discearning stitches used, I may have discovered on my own the cross-stitch evidence, instead of relying on the Museum website’s analysis.

Overall:
I am happy with my finished product, and need to find a place to hang my Jupiter.

Sources:
Victoria and Albert Museum Website: http://collections.vam.ac.uk

Bath, Michael Emblems for a Queen 2008 Archetype Publications Ltd., London.

Private conversation with Mistress Cellach of Athena;s Thimble, Spring 2009