May be sent to

Plimoth Plantation

c/o Kim Corben, Development

PO Box 1620

Plymouth, MA 02362

Please write on your check or enclose with your contribution a note saying:

“Restricted to Embroidered Jacket Project” or something to that effect.

And thank you so much for asking!

Cheryl asked how much we need. I will sweep together the estimates and let you know in dollars, but here’s a list of expenses.

Every time we have an embroidery session we need to buy food supplies. It is most cost effective, not to mention most delicious to have Marcia cooking for us, we spend much less than if we bought food through a restaurant, but depending on number of participants and number of days we need $200-400.

We need to buy some supplies for the lace making; pins, prickers, cards for the prickings and some other things.

We need to buy the silver and gold for the teardrop spangles.

We need to buy the gold and silver threads for the lace.

We’ll need more GST, especially the first three colors – bisse, carnation and redde.

These are just materials costs; I’ll have to look up the figures on what we allowed (in the grant application) for a hired embroideress for the vines. Plus, I’m sure I’m forgetting something….

Ah, yes, I was just reminded about buying the sequins, the little round bits that’ll be sewn onto the cloth itself. (These were and, I think, still are made by coiling a wire and smacking it sharply to flatten it, Susan. The teardrop ones, though, were punched out of a flat piece of metal, almost a metal ribbon. The historic spangles themselves told us, by the striations visible at high magnification, by the ‘burls’ on the edges of the spangle and the edge of the hole, and by the irregular spangles, the ones punched too close to the edge of the ribbon or too close to their neighbor spangle. That’s the abridged version, but more will be coming soon, and with photos.)

Tricia has promised more blogs, including instructions for the plaited braid stitch and more on the teardrop spangle quest. I have on hand a few more blogs written by Wendy on spangle history, teardrop and other shapes, and I will start with those tomorrow, hopefully.

See you then.

I got up this morning and found that my inbox was very, very full! I hadn’t had my caffeine yet and so it took a minute to register that Susan North (Curator at V&A) had been generous with her time and photographed motifs that I was having difficulty figuring out stitch direction and other details. Thank you Susan! What a treat and so valuable.

I bring this up as I saw something that was very interesting. On many of the motifs there were dark areas where it looked as if a silver thread had been used to make one small stitch. When magnified, I laughed. It was where the Gilt Sylke Twist (the real 17th century version!) had broken the metal wrap and it had piled up on itself as the stitch was made. In their case, they had used a very thin silver strip (visit our December blogs to see why we used a gilt wire) and so it looked like a pile-up of silver. So I guess the professional didn’t waste his (her??) time taking out those areas to fix them as we have been doing. Hmmm, maybe we can pick up some speed here!

I love these little details – seeing the same mistakes that we make really means we are on the right track. I am happy that we waited for these pictures to start motifs such as the bird, as I saw details in the tails that we didn’t pick up from earlier photos. Now I have to change the directions for them as there are more stitches used in the tail than we could earlier discern.

Tricia

I included the photo of Tricia’s first embroidery with the Gilt Sylke Twist. On the lower right corner you can see where the wire snapped and piled up. In an earlier comment, Tricia mentioned she hadn’t noticed the snag until she got much further along, but now the new information makes it look like a more exact recreation of the original. Gotta love that.
Jill