After spending all week here working on instructions and doing experimental archeology, as Jill puts it, it was nice to have a crew come in to make a nice push on the pieces. We have seven people here today working on embroidery and lace. Speaking of the lace, Carolyn has come today to set more lace pieces up and rewind gold onto a bobbin that has run out. Here you see her preparing the bobbin before she will do some lace magic (to me at least) and add the end into the existing lace under work.

I had fun looking at the long piece on the pad that was already finished – is it me or does the lace seem to go faster than the embroidery? She let me unroll it, almost 40″ done on this one piece already. Here you can see how lovely it is. I admit that I wrapped it around myself to see how pretty it was. It was. But that is as close as I am getting to wearing the jacket, it’s not my size.

Tricia

Tricia wrote this post for us:

Today we excitedly added peas to one of the pods that are on the jacket to make the instruction sheets. The bottom of the pod is stitched in silk detached buttonhole and then two gold spider web peas are added on top. Here you can see me practicing the spider web pea in a corner to try to get the right size. With the spider web stitch using a thick thread, you need to make the legs really long to end up with a smaller circle. I had to try it a couple of times to get the right size. The peas looked really, really bright on the silk. We had alot of squealing in the room as passersby saw the peas. Very cute.

We had a question from a curator the other day as to why we were stitching the gold last and not first. Apparently there is an unfinished piece in their collection that has only gold on it. Having not seen the piece, I can’t comment on that piece. I can comment on this jacket and why we are working in that order, along with many other pieces I have viewed. There are several clues that lead us to the ‘gold last’ argument. First, the leaves and peas all have gold worked directly on top of the silk. Second, almost every vine end or calyx (as in the foxglove or peas) overlaps the silk work, showing that it had been done last. Another point from experience – filament silk catches on raised gold stitches so much that it becomes impossible to work. And we have already shown that much of the silk worked on the original was hand twisted filament in a medium – loose twist, which would have caught on the gold plaited braid as each buttonhole was worked. Just wanted to document our thinking process for those who may have wondered.

Tricia

blog as documentation helps us, too, when we later try to reconstruct the decision-making process jmh

Wendy sent me this information from her spangle research. She sent it quite a while ago, but I put off posting it in favor of other subjects. I wanted to save some for when we got nearer to the end of the Spangle Quest. I’m posting it now; think about that.

While researching word origins regarding spangles and oes I came across a book entitled: English Dictionaries 800-1700, The Topical Tradition by Werner Hullen 1999 and published by Oxford University Press. In it is found James Howells Dictionary for the Genteel (1660) and the definition at that time for a “wire drawer” is more of a list of tools associated with the art of wire drawing:

A Wyredrawer; Tiratore de metallic; Trayer de metaux; Tirador de metales’- a hammer,nippers, a rowl pin, an oyl stone, bobbins, purling wyres, a spangle tool, a tool to cut oaes,rocket or small rowles, a serpentine, an anvil, files, the racer, a burnisher

From the above I would suspect that a “serpentine” may have been the twisting wheel. Interestingly there is no mention that I can discern of a lead pan, pitch pan or mat upon which to punch or cut out the spangles. It would not have been done on the anvil, as it would have dulled the cutter quickly.

Additionally it should be noted that while researching it became apparent that the more creative I was with the search terms and spelling the better the results. Examples include:

O’s – oes, oaes, paillettes, paillon, drop, drops, hangers, hangrs, hyngers

Spangles – spangs, paillettes, tags, aguil, drop, props, hyngers, bezants

Wire – wyre, wyer, wir

I was hoping this would yield some additional information if not corroboration to our theories so we could begin the process of testing various methods to create the “spangles”.

Mark had already made one small tool and tested it on some of the “Plate” Tricia had brought in from her stash. His results were right on target and had us all really excited. The next step was for Mark to make a tool in the correct size and shape that we could try to find the right material to use in making the spangles.

Tonight Wendy continues to tell about her investigations into how spangles were made in the past. These descriptions come from post-1620 sources. The methods and techniques described may very well have continued unchanged for decades or even centuries, but unless we find some pre-1620 sources, we won’t be able to know for sure. However, the written evidence, even from later sources, combined with the physical evidence of the early 17th-century spangles that Tricia, Wendy and Mark studied, can give us many clues as to how the sparklies were made.

So what does a “Wire Drawer” do? Well he/she draws wire, but we didn’t need to know the specifics for all types of wire, just precious metal. While the definitions are similar some of the tools are different as well as the terms and of course the products….. so here is what I hope is a picture of this craft.

The art of the Wire Drawer includes the manufacture of wire (thread), purls, plates, spangles and oes. Gilt wire started with “sterling” silver. Sterling means the silver was alloyed with copper to ensure that it would not fracture as it was worked. The sterling was then “drawn” or stretched into a finer and still finer diameter wire. Once it reached a certain specific size, gold leaf from the “Gold Beaters” (makers of Gold leaf) was applied until the gold layer reached a thickness of one-fiftieth of an inch. The gold leaf was then fused to the sterling and that was further drawn out to the necessary size. If “plate “ were the desired result, the wire would be run through a “rolling mill” (two smooth and polished gear driven rollers) to flatten it.

We suspect that at this point spangles could be made, individual spangles being cut or punched from the plate.

If the illustrations and the process originally described in Art of the Embroiderer by Charles Germain de Saint- Aubin, Designer to the King 1770 (and also quoted by Gail Marsh) are correct then the creation of spangles once the flat stock or “plate “ was made was a two step process. First the stock was pierced at intervals to create the small hole for hanging, then the “spangle tool” was used to cut out the shaped spangle (in this case a tear drop). The shape of the tool and descriptions call for the “spangle’ to emerge from the top – this would allow the worker to rapidly hammer out (cut or punch) a quantity before having to tip out the punch of its finished contents. This would also explain the nips seen in several of the spangles that Tricia has viewed as well as some of the spangles having more of a straight edge on one side (it’s the human touch).

It should be mentioned that wire drawers were also responsible in large part for the actual spinning of the gilt silk threads. The gilt was “spun” (wrapped) around the silk core by “spinners” a specific job within the field of Wire Drawing.

George Bernard Hughes in his book, Living Crafts- 1896 describes it this way:

It now became possible to make gold and silver thread, flattening the finely drawn wire by passing it through rollers and twisting those around a core of silk by means of a wheel operated twisting machine. These spun threads, much less expensive to produce than wires of solid gold or silver, were sufficiently flexible to be used for making lace as well as for wearing and embroidery.” He also mentions that “at first the new thread was known as ’sewing gold’ and in 1592 cost 5 shillings an ounce”.

I’m terrible at math but I wonder what that would cost in today’s money? Does anyone know?

Tricia writes:

Good Question. Jill has been asking me this question about once a month recently. I keep pretending I don’t hear her.

Of all the elements of the jacket, the vines are the only one that all touch. When it is continuous like that, it is hard to cover up the differences between stitchers. This is a really hard one; I don’t think anyone is prepared to do the entire jacket. Honestly, I had an arm injury three years ago that keeps me from intense stitching (especially anything with time pressure). I need help on this one.

Our plan A was to hire an expert (already identified) to stitch most of the vines in about three weeks and augment with one or two other people (volunteers like myself). But then the grant we were counting on was delayed and might not come until after the jacket is finished, so we have been shoe-stringing this project. Now it is time for plan B.

I can say that we should have a very small group stitch this part of the jacket to keep the uniformity needed to make it look really good. Now how to find that group of people. I would love to hear from those reading the blog with ideas. Is anyone interested in sample kits to try out for this little team? How about a fundraiser to pay for the labor? I am open to suggestions. Email them to me at tricia@alum.mit.edu

Tricia