Going back to view the MET jacket was great as I was able to look at it with a more measured eye this time.  Even though I had spent hours with the piece in January 2007, I was new to the jackets and therefore didn’t ’see’ everything because I couldn’t filter out the details to see the whole picture at times.  This time I had gone through the process of figuring out the embroidery pattern for our jacket and therefore knew the mentality of how to look for the pattern and where on the jacket the pattern would be most recognizable (the back).

There are a few ‘models’ for the coiling stem patterns which I am not recognizing.  Of course symmetry plays a role in the patterns and tiling does also (think of brick patterns).  Most of the existing jackets are quite simple with a large coil that has more than one motif inside and only two or four large coil types which repeat across the jacket.  The Laton jacket has a basic four large coil pattern with some variation of secondary motifs (I am interested in examining this further soon).  Ours is quite complex with 12 individual different small coils to make up the base pattern.   The MET jacket is more similar to ours.  Small coils with one major motif in each coil.  Standing there on the day after the opening, I looked at the piece and within a minute had picked out the pattern.  It is a 3×3 pattern which shifts over one coil on every new course (think tiling).  I need to draw out the pattern and then expand it like we did on our jacket and then verify, going through the same procedures to make sure my analysis was correct.  It is amazing how fast it is to figure these out once you have done it once before.

The motifs in the MET jacket are, in order left to right:

Row 1:  Borage, Carnation/Pink, Daffodil
Row 2:  Pea Pod, Tulip, Strawberries and Flower
Row 3:  Pansy, Rose, Acorn

Then there are the fauna which are sprinkled in between the coils.  Two different birds, butterflies, worms and snails.  One of the birds is often eating a worm/bug.  The thing that made the pattern harder to figure out on this jacket was that often the flowers colors are changed on each new row.  So the shape has to be referenced to deduce the pattern.

Tricia

The MET Jacket on display at the new exhibit in Manhattan (Twixt Art and Nature) was one of the two pieces we visited while planning for the project.  I am so thrilled that many of you may be able to go visit it while it is out. The jacket was breath-taking to us for several reasons.  First, it has a wide variety of motifs and a very heavy and complex gold stitch for the coils.  Secondly, it is tiny.  And I mean TINY.  This really surprised us.  We knew that the fashion for waistcoats at this time (around 1620-1630) was for very high waists, but the shoulders on this piece are very small.  Standing there looking at them, they are a bit smaller than my 8 year old child’s shoulder width.  I hope that Susan North (who is an expert on costume of this period) will be able to examine this piece soon and make comments.  We looked at all the seams and embroidery along the shoulders and sides and have some thoughts about the areas that have and haven’t been modified.

The gold coils are stitched with a complex stitch that starts with a ladder stitch and then follows with a second pass which wraps the bars together.  It takes up a great deal of thread and is time consuming to work.  Jill loved the stitch and wanted to do it on our jacket but I said I would stage a mutiny!  Check it out here on a sampler of mine.  It really makes you wonder about how much the cost of this particular jacket was to make.

Tricia