Thanks for all your encouraging comments. I will photograph more motifs tomorrow at the office and post them.

About the plaited braid stitch, I know Tricia is working on a set of instructions with great photos that can be posted here and downloaded, like she did for all the other stitches we’ve been doing.

She and I are still thinking about how to marshal the troops to actually do the gold work. The plaited braid is one long motif, so to speak. Each pansy, or rose, or columbine is distinct and separate from every other pansy or rose or whatever. They don’t bump up next to each other, so variations in stitch tension or density don’t show so much. And in the originals we’ve looked at we saw differences like that in different motifs, so we’re not so worried about that. But the vines are like one continuous line. If we have very different hands working on the same sections it will show pretty dramatically.

I’m still hoping for some of our serious fund-raising efforts to result in a chunk of money so we can pay someone to do large sections of the vine, and fill in with volunteers, in such a way that the variety of hands is not so glaring. We do have some proposals out, and we’re working on another packet of materials to send to a bunch of different places, so keep your fingers crossed there.

Even if that happens, though, we’ll still need embroiderers, so don’t worry, you aren’t being put out of a job here. There’ll be miles of chain stitch gold work, little curlicues that spring seemingly randomly from the vine, plus top stitching on leaves that has to be done in gold, too.

We’re close to having another recreated thread to add to the jacket. Tricia did a gold thread series of blog posts a few weeks ago, and the end was that Bill Barns was going to do another sample of gold wrapped around silk, but this time use two ends of silk as the core rather than three, which would hopefully give Tricia the flexibility she was looking for. I haven’t heard that she’s got that sample yet, but we will of course post pictures as soon as she’s tested it.

I don’t know the answer to the question of how the acorn caps in yesterday’s picture were done; but I’ll send a note to Tricia to see if she knows.

Embroidery sample received today from Carolyn W. Also we’ve gotten more stockings! From Susan J, Sarah N, Susan Y, and Carol H. All absolutely lovely.

Tomorrow Penny will be attending the Weavers’ Guild of Boston’s meeting. The members of the WGB have, over decades, been willing hands, knitting and weaving for the living history program. Tomorrow Penny will see if anyone would like to take some stockings that need re-footing (old ones) or gloves to be re-fingered (also old).

Two spinners have volunteered to spin some combed top I had in the closet; I will be packaging that up and sending it out tomorrow, and we’ll see what we’ll see. I’m hoping for some hand spun worsted yarn that we can dye and knit into stockings at a gauge closer to the original 17th century stockings than our current pattern. The stockings on the Gunnister man, who was found preserved in a peat bog in Scotland, were about 7.5 sts/in. Gunnister man is no earlier than the last quarter of the 17th century, dated by coins in his (knitted!) pocket, but they are very close to our time period, close enough to be used as a model for the Plimoth colonists’ stockings.

I guess I still can run on, despite feeling like I’ve nothing new to say.

Pictures of motifs tomorrow, and thanks again for the help.

All of the scheduled sessions are full or nearly so. I have sent an email with the schedule to all the embroiderers I’m expecting in August. If you didn’t receive a personal email with the August schedule, it means I don’t know you want to come. Please get in touch right away. jhall@plimoth.org By the end of the week I’ll be sending out confirmations for the September & October sessions. If you’re signed up for any session and you can’t make it after all, please let me know as soon as possible; perhaps another embroiderer can take your place. And yes, we’ll shortly be scheduling sessions for 2008 (2008!).

Carol left this question in the comments:

So do you have any idea what they meant by mingled?
Was it one color in the warp and another in the weft?
Woven from threads that were space dyed?

I have one idea what may have been meant by mingled, but there certainly could be other explanations. Gervase Markham’s 1615 book The English Housewife outlined all the skills a woman needed to run a large manor house, including “cookery, banqueting-stuff, distillation, perfumes, wool, hemp, flax, dairies, brewing, baking, and all other things belonging to a household.” This volume is a wealth of information for modern historians.

In the textiles chapter, Markham explains how, after the wool is dyed but before it is spun, the housewife should mix her colors together. He says that “the best medley” is composed of two parts dark color wool and one part light color wool. He explains that all the wool should be thoroughly carded “till you see it perfectly and undistinctly mixed together, and that indeed it is become one entire colour of divers without spots.”

The blended wool is then spun and woven into cloth. Perhaps the resulting fabric was called mingled color, like in the inventory. Markham doesn’t say.

In the 17^th century a kind of silk cloth with one color warp and a different color weft was called “changeable taffeta”; it is still made in the 21^st century. It seems to change color as the cloth moves. It’s possible that mingled color meant this kind of cloth, though, or something entirely different.

Thanks for asking Carol, and please if you have any wonderings, leave questions in the comments or email me at jhall@plimoth.org. Sometimes I don’t know what would be interesting to write about and I welcome your suggestions.